Program Information
- ISBN
- 9798886951219
- Technical Specifications: Checklist
- Tech Specs: Checklist (pdf 517.63 KB)
- Technical Specifications: Professional Development
- Tech Specs: Professional Development (pdf 374.53 KB)
Explorations in Art, Grade 1 Texas Edition
Grade 1
IMRA 2026
Publisher: Davis Publications, Inc.
Copyright: 2019
Series includes:
Rubric: Fine Arts K–12 (Download Not Available)
* Some programs submit evidence for only part of a standard, while others submit all sections. A 100% score means this program met all the expectations it submitted.
Quality Review
Standards Alignment
Rubric Section
| Grade | TEKS % | ELPS % |
|---|---|---|
| Grade 1 | 100% | N/A |
Criteria for Quality
Rubric Section 1
Intentional Instructional Design
Materials support educators in effective implementation through intentional course, unit, and lesson-level design.
Total
100% (23 out of 23 points)
Evaluation for 1.1a
Explorations in Art, Grade 1 includes a scope and sequence for each unit that aligns with the Texas Essential Knowledge and Skills (TEKS) and concepts taught throughout the course. The scope and sequence identifies concepts of the program, student learning objectives, the strand of each objective, and where and when lessons explore concepts. For example, the “Introduce the Studio” section of lesson 1.3 aligns with the grade-level TEKS 1.2A. The “Supplemental Correlations Chart” itemizes the unit concepts, lessons, and TEKS, and lists the lesson components by page number and content type within each lesson.
Additionally, the scope and sequence maps out lessons by grouping them into three thematic strands, demonstrating how concepts are organized throughout the program. “Unit Planning Guides” integrate concepts taught in the student learning objectives. For example, lesson 1.4 “Special Objects: Finding Shapes” identifies strand 2 and 3 student learning objectives: “Understand that everyday objects can be seen as beautiful, identify and describe shapes in artworks and in everyday objects, and create a collage with shapes to meet studio evaluation criteria.”
Evaluation for 1.1b
In the Teacher Edition, the scope and sequence includes a detailed course-level pacing guide that supports educators’ understanding of the number of instructional days, class periods, and time needed to cover all instructional units. For example, for Grades 1–6, the scope and sequence offers four pacing options: one for a traditional school year with daily lessons, one for a semester of daily lessons, a full year with weekly classes with instruction in all units, and a full year with weekly classes with instruction from two units. The scope and sequence shows which lessons, studio experiences, and assessments to complete in each unit to follow each proposed schedule.
Furthermore, the scope and sequence includes suggested pacing for rotational schedules for individual and multiple classes per lesson from 30–90 minutes. Each unit provides a pacing guide with lesson topics and recommended time allotments to cover lessons per day or week as a whole. For example, the pacing guide for lesson 4.1 indicates that it is a 45-minute lesson that can be extended with additional cross-curricular connections in science and math. The pacing guidelines for Grades 1–6 indicate that all units and lessons follow the same format, and if educators complete all lessons, the minimum time is 70.5 hours, or 96 45-minute class periods. As noted, cross-curricular connections can be added to adjust schedules.
Evaluation for 1.1c
The “Program Overview” explains the overall design and instructional approach of the curriculum, highlighting the grounding philosophy, program features, and structure. For example, the overview discusses the rationale of unit order, stating, “The sequence of lessons within each level has been carefully planned to accommodate the interests, skills, and abilities of students.” These lessons progress through spiraled topics to present the elements of art and principles of design to students with continuously developing skill levels. Each lesson develops understanding of a key concept around which the unit is built.
Furthermore, the program structure in the “Program Overview” describes how concepts connect throughout the course. For example, the program philosophy states that in art, “We seek to help students understand the enduring ideas about art and human experience” through investigations, interpretation of artworks, art-making and response, and cultural understanding, which are all introduced in each unit “Opener” as Big Ideas, essential questions, and objectives.
Evaluation for 1.1d
The “Unit 1 Planning Guide” provides a structured framework that supports understanding of the unit’s essential theme—“Looking Around: Where Do We Find Beauty in Our World?”—through three strands focused on beauty in places, everyday objects, and nature. The guide outlines lesson sequencing, pacing, studio experiences, artworks, vocabulary, materials, and cross-curricular connections, enabling educators to understand how concepts develop across the unit. Lessons progress from identifying lines, shapes, and textures to applying these concepts in studio projects such as creating landscapes, collages, playground designs, and textured animal sculptures. Embedded research-journal activities, “STEAM Connections,” literacy integration, and unit-review components provide instructional protocols and organizational structure that supports educators through unit and lesson preparation, implementation, and understanding of how individual lessons contribute to the overall unit learning goals.
Furthermore, comprehensive, downloadable PDF lesson plans provide protocols that support lesson internalization through detailed instructional guidance. For example, unit 1, lesson 1.3 includes a pacing recommendation of two 45-minute periods, the essential question “Where do we find beauty in our world?”, and the Big Idea “We can find and show beauty in the places of our world.” The lesson outlines clear objectives, required materials, and the TEKS correlations, while the “Studio Exploration” section guides educators in reinforcing the five-step studio process and art-making objectives. Additional supports include assessment guidance, studio evaluation criteria, “Quick Question Review”s, and opportunities for students to revisit and respond to the essential question.
Evaluation for 1.1e
The “Unit 1 Planning Guide” provides a comprehensive unit overview that outlines the instructional sequence across three strands. The guide identifies lesson titles, pacing, artworks, studio experiences, vocabulary, required materials, and cross-curricular connections, allowing instructional leaders to support lesson planning, resource allocation, and instructional monitoring. It also demonstrates how learning progresses throughout the unit while integrating learning across other content areas. This structured overview provides implementation guidance and supports lesson delivery of course materials.
Additionally, implementation support includes “Visual Literacy” in the “Reference” section of the Teacher Edition, which outlines teaching techniques for teaching visual literacy in the program. Other supports in the “Reference” materials include “The Place of Art in STEAM,” “Choice in the Elementary Art Room,” “Using a Research Journal in the Art Room,” “Design Thinking for Visual Art Teachers,” and “Differentiated Instruction.”
Lastly, the Davis Digital website provides resources and guidance for instructional leaders. The “Help” tab contains support videos that demonstrate many aspects of the program at varying levels. For example, videos include a general overview of the materials, a “Quick Start” guide, and implementation videos for elementary, middle school, and high school grade levels. The website also provides videos for online art instruction and portfolio support.
Evaluation for 1.2a
Each unit’s “Planning Guide” includes the unit theme, lesson strands, lesson topics, suggested pacing, artworks, studio topics, vocabulary, materials, and cross-curricular connections. The comprehensive overviews provide academic and discipline-specific vocabulary support. For example, unit 1, lesson 1.2 explores the concept of lines as edges, and the lesson includes the vocabulary words shape and print. Glossaries in the Teacher Edition and Student Edition define academic language. The resource guide includes full-color art room reference sheets on various discipline-specific topics that support educator and student background knowledge as well as vocabulary.
Furthermore, the comprehensive unit overview in the “Unit 1 Planning Guide” supports educators’ knowledge throughout the lessons, organizing student exploration activities and lessons in charts with key concepts, artworks, studio media, vocabulary, and cross-curricular connections. Each unit introduction includes educator background information in a “Teach Through Inquiry” section that introduces the unit theme and background. This guide supports educators by building their content knowledge to use throughout the unit, supporting instruction. Each lesson includes an “About the Artist” section containing biographical information. For example, lesson 2.4, “Active People: Seeing Action,” features background details about the painter Winslow Homer.
Evaluation for 1.2b
The instructional materials include tip sheets that provide support for families in English and Spanish. These include student expectations for the unit, what students will learn, what they will do, vocabulary words, and 10 extension ideas that families can use to support their student’s progress. For example, a tip for unit 1 suggests, “Look for lines in nature. What kinds of lines do you see? Do the lines change directions to make shapes? Think about how you could show these lines in an artwork.”
Additionally, the Davis Digital website features the “Enable Translation” toolbar, which translates each web page and text into several languages, including Spanish, providing emergent bilingual (EB) students and the families access to all instructional tools.
Evaluation for 1.3a
Each lesson in the Teacher Edition includes detailed lesson plans that support educators in meeting content standards aligned with the TEKS. Every lesson includes lesson objectives and identifies the TEKS correlations. The downloadable PDF lesson plans include protocols that support lesson internalization in a clear and structured way. The “Prepare” section of each lesson includes the daily objectives and materials needed for that lesson.
Furthermore, the lesson plans include various tasks, questions, and instructional assessments aligned with the daily objectives and the TEKS. For example, in the “Teach Through Inquiry” section of lesson 1.4, educators ask students, “What makes a toy special to look at?” During “Explore the Images,” educators prompt students with “What geometric shapes do you see in the things we use in class every day?” Learning tasks in the “Create” section engage students in “Studio Exploration” to make a collage using shapes. These activities meet content standards according to the TEKS.
Evaluation for 1.3b
Individual unit plans highlight materials needed for instructional delivery in a chart that lists educator and student materials, including media titles and artists. For example, lesson 1.7 identifies student materials, including paper and crayons with wrappers removed, for creating textures using rubbing plates. Additionally, the Davis Digital website houses a database of 20,000 high-quality art images searchable by lesson, artwork, media, and element, which can be tagged for future retrieval. Educators can create and share slide presentations across multiple student platforms for digital or asynchronous learning.
Furthermore, the “Unit Planning Guide” includes lesson pacing and suggestions for total completion time. The scope and sequence offers pacing suggestions tailored to specific schedules. Lastly, daily lesson plans include the lesson completion time broken into the suggested minutes for each lesson component, which ensures that lessons are taught in their entirety within the class period.
Evaluation for 1.3c
Extended practice guidance in lesson 3.2 supports students in developing and extending artistic knowledge and skills beyond the classroom. The “Aesthetic Awareness” sidebar extends student learning with the prompt “This week, imagine a make-believe place. Think about how you might show it in a painting. Would you use primary colors, secondary colors, or both? Would you let the colors run together to make fuzzy edges?” Educators encourage students to use their research journals to write sentences about artworks they “do or do not like.” These activities extend classroom learning in perceptual and critical evaluation as art skills.
Additionally in lesson 3.2, educator guidance suggests extending the lesson through a cross-curricular story-writing experience. Students first share their artworks in a small group, then write a story that could take place in the setting of their artwork.
1.1 Course-Level Design
1.1a
Materials include a scope and sequence outlining the TEKS, ELPS, and concepts taught in the course.
Materials include a scope and sequence outlining the TEKS, ELPS, and concepts taught in the course.
2 out of 2 points
Evaluation for 1.1a
Evaluation for 1.1a
Materials include a scope and sequence outlining the TEKS, ELPS, and concepts taught in the course.
2 out of 2 points
Additionally, the scope and sequence maps out lessons by grouping them into three thematic strands, demonstrating how concepts are organized throughout the program. “Unit Planning Guides” integrate concepts taught in the student learning objectives. For example, lesson 1.4 “Special Objects: Finding Shapes” identifies strand 2 and 3 student learning objectives: “Understand that everyday objects can be seen as beautiful, identify and describe shapes in artworks and in everyday objects, and create a collage with shapes to meet studio evaluation criteria.”
1.1b
Materials include suggested pacing to support effective implementation for various instructional schedules (e.g., rotational schedules) and various instructional calendars (e.g., varying number of instructional days).
Materials include suggested pacing to support effective implementation for various instructional schedules (e.g., rotational schedules) and various instructional calendars (e.g., varying number of instructional days).
3 out of 3 points
Evaluation for 1.1b
Evaluation for 1.1b
Materials include suggested pacing to support effective implementation for various instructional schedules (e.g., rotational schedules) and various instructional calendars (e.g., varying number of instructional days).
3 out of 3 points
Furthermore, the scope and sequence includes suggested pacing for rotational schedules for individual and multiple classes per lesson from 30–90 minutes. Each unit provides a pacing guide with lesson topics and recommended time allotments to cover lessons per day or week as a whole. For example, the pacing guide for lesson 4.1 indicates that it is a 45-minute lesson that can be extended with additional cross-curricular connections in science and math. The pacing guidelines for Grades 1–6 indicate that all units and lessons follow the same format, and if educators complete all lessons, the minimum time is 70.5 hours, or 96 45-minute class periods. As noted, cross-curricular connections can be added to adjust schedules.
1.1c
Materials include an explanation for the rationale of unit order as well as how concepts to be learned connect throughout the course.
Materials include an explanation for the rationale of unit order as well as how concepts to be learned connect throughout the course.
2 out of 2 points
Evaluation for 1.1c
Evaluation for 1.1c
Materials include an explanation for the rationale of unit order as well as how concepts to be learned connect throughout the course.
2 out of 2 points
Furthermore, the program structure in the “Program Overview” describes how concepts connect throughout the course. For example, the program philosophy states that in art, “We seek to help students understand the enduring ideas about art and human experience” through investigations, interpretation of artworks, art-making and response, and cultural understanding, which are all introduced in each unit “Opener” as Big Ideas, essential questions, and objectives.
1.1d
Materials include protocols with corresponding guidance for unit and lesson internalization.
Materials include protocols with corresponding guidance for unit and lesson internalization.
2 out of 2 points
Evaluation for 1.1d
Evaluation for 1.1d
Materials include protocols with corresponding guidance for unit and lesson internalization.
2 out of 2 points
Furthermore, comprehensive, downloadable PDF lesson plans provide protocols that support lesson internalization through detailed instructional guidance. For example, unit 1, lesson 1.3 includes a pacing recommendation of two 45-minute periods, the essential question “Where do we find beauty in our world?”, and the Big Idea “We can find and show beauty in the places of our world.” The lesson outlines clear objectives, required materials, and the TEKS correlations, while the “Studio Exploration” section guides educators in reinforcing the five-step studio process and art-making objectives. Additional supports include assessment guidance, studio evaluation criteria, “Quick Question Review”s, and opportunities for students to revisit and respond to the essential question.
1.1e
Materials include resources and guidance for instructional leaders to support teachers with implementing the materials as designed.
Materials include resources and guidance for instructional leaders to support teachers with implementing the materials as designed.
2 out of 2 points
Evaluation for 1.1e
Evaluation for 1.1e
Materials include resources and guidance for instructional leaders to support teachers with implementing the materials as designed.
2 out of 2 points
Additionally, implementation support includes “Visual Literacy” in the “Reference” section of the Teacher Edition, which outlines teaching techniques for teaching visual literacy in the program. Other supports in the “Reference” materials include “The Place of Art in STEAM,” “Choice in the Elementary Art Room,” “Using a Research Journal in the Art Room,” “Design Thinking for Visual Art Teachers,” and “Differentiated Instruction.”
Lastly, the Davis Digital website provides resources and guidance for instructional leaders. The “Help” tab contains support videos that demonstrate many aspects of the program at varying levels. For example, videos include a general overview of the materials, a “Quick Start” guide, and implementation videos for elementary, middle school, and high school grade levels. The website also provides videos for online art instruction and portfolio support.
1.2 Unit-Level Design
1.2a
Materials include comprehensive unit overviews that provide the background content knowledge and academic and discipline-specific vocabulary necessary to effectively teach the concepts in the unit.
Materials include comprehensive unit overviews that provide the background content knowledge and academic and discipline-specific vocabulary necessary to effectively teach the concepts in the unit.
2 out of 2 points
Evaluation for 1.2a
Evaluation for 1.2a
Materials include comprehensive unit overviews that provide the background content knowledge and academic and discipline-specific vocabulary necessary to effectively teach the concepts in the unit.
2 out of 2 points
Furthermore, the comprehensive unit overview in the “Unit 1 Planning Guide” supports educators’ knowledge throughout the lessons, organizing student exploration activities and lessons in charts with key concepts, artworks, studio media, vocabulary, and cross-curricular connections. Each unit introduction includes educator background information in a “Teach Through Inquiry” section that introduces the unit theme and background. This guide supports educators by building their content knowledge to use throughout the unit, supporting instruction. Each lesson includes an “About the Artist” section containing biographical information. For example, lesson 2.4, “Active People: Seeing Action,” features background details about the painter Winslow Homer.
1.2b
Materials contain supports for families in both Spanish and English for each unit with suggestions on supporting the progress of their student.
Materials contain supports for families in both Spanish and English for each unit with suggestions on supporting the progress of their student.
2 out of 2 points
Evaluation for 1.2b
Evaluation for 1.2b
Materials contain supports for families in both Spanish and English for each unit with suggestions on supporting the progress of their student.
2 out of 2 points
Additionally, the Davis Digital website features the “Enable Translation” toolbar, which translates each web page and text into several languages, including Spanish, providing emergent bilingual (EB) students and the families access to all instructional tools.
1.3 Lesson-Level Design
1.3a
Materials include comprehensive, structured, detailed lesson plans that include objectives, questions, tasks, materials, and instructional assessments required to meet the content and language standards of the lesson (aligned with the TEKS and the ELPS).
Materials include comprehensive, structured, detailed lesson plans that include objectives, questions, tasks, materials, and instructional assessments required to meet the content and language standards of the lesson (aligned with the TEKS and the ELPS).
4 out of 4 points
Evaluation for 1.3a
Evaluation for 1.3a
Materials include comprehensive, structured, detailed lesson plans that include objectives, questions, tasks, materials, and instructional assessments required to meet the content and language standards of the lesson (aligned with the TEKS and the ELPS).
4 out of 4 points
Furthermore, the lesson plans include various tasks, questions, and instructional assessments aligned with the daily objectives and the TEKS. For example, in the “Teach Through Inquiry” section of lesson 1.4, educators ask students, “What makes a toy special to look at?” During “Explore the Images,” educators prompt students with “What geometric shapes do you see in the things we use in class every day?” Learning tasks in the “Create” section engage students in “Studio Exploration” to make a collage using shapes. These activities meet content standards according to the TEKS.
1.3b
Materials include a lesson overview listing the teacher and student materials necessary to effectively deliver the lesson (e.g., equipment, supplies, technology) and the suggested timing for each lesson component.
Materials include a lesson overview listing the teacher and student materials necessary to effectively deliver the lesson (e.g., equipment, supplies, technology) and the suggested timing for each lesson component.
3 out of 3 points
Evaluation for 1.3b
Evaluation for 1.3b
Materials include a lesson overview listing the teacher and student materials necessary to effectively deliver the lesson (e.g., equipment, supplies, technology) and the suggested timing for each lesson component.
3 out of 3 points
Furthermore, the “Unit Planning Guide” includes lesson pacing and suggestions for total completion time. The scope and sequence offers pacing suggestions tailored to specific schedules. Lastly, daily lesson plans include the lesson completion time broken into the suggested minutes for each lesson component, which ensures that lessons are taught in their entirety within the class period.
1.3c
Materials include guidance on the effective use of lesson materials for extended practice (e.g., homework, extension, enrichment).
Materials include guidance on the effective use of lesson materials for extended practice (e.g., homework, extension, enrichment).
1 out of 1 points
Evaluation for 1.3c
Evaluation for 1.3c
Materials include guidance on the effective use of lesson materials for extended practice (e.g., homework, extension, enrichment).
1 out of 1 points
Additionally in lesson 3.2, educator guidance suggests extending the lesson through a cross-curricular story-writing experience. Students first share their artworks in a small group, then write a story that could take place in the setting of their artwork.
Rubric Section 2
Progress Monitoring
Materials support educators in effective implementation through frequent, strategic opportunities to monitor and respond to student progress.
Total
100% (15 out of 15 points)
Evaluation for 2.1a
“Teach Through Inquiry” incorporates diagnostic assessments at the beginning of lessons through oral discussion questions about unit concepts. For example, in lesson 1.7, “Beauty in Nature: Finding Textures,” the diagnostic assessment centers on preteaching vocabulary about textures: smooth, rough, bumpy, and fuzzy. Educators display a variety of natural materials and ask students to describe textures. Student responses indicate which students might need additional support to complete the unit.
Lesson 1.7 also includes formative assessment options that vary by task. For example, students create original crayon rubbings that meet provided studio evaluation criteria in “Things to Remember.” “Assess” provides two questions to determine whether students understand that artists pay attention to texture and students can describe textures in nature. Their descriptions of texture address the prior diagnostic so educators can determine students’ developing understanding. The four-point proficiency rubric scores assessments on lesson and unit levels.
Each unit includes one of a variety of summative assessments and performance tasks to show mastery of lesson material. The unit 1 summative assessments include multiple options such as a match-the-picture task that covers artworks learned in the unit. Students see a scene and write words, phrases, or sentences about what they would do in that scene. Students participate in open discussion using sentence stems. Students engage in critique of an artwork by describing, analyzing, interpreting, and evaluating the piece while supporting their answers with discipline-specific vocabulary. Lastly, students engage in portfolio review, collection, and presentation.
Evaluation for 2.1b
The “Strategies for Assessment” section of the Teacher Edition defines the types of assessments included in the curriculum and explains the intended purposes of each assessment type. Diagnostic assessments are provided as downloads. Materials include formative assessments used during instruction, studio evaluation criteria, and unit summative assessments to evaluate student understanding and skill development.
Additionally, downloadable lesson plans include an “Assess” section that defines and outlines the intended purpose of art criticism questions, and assessment criteria used for formatives and summatives throughout the course content. The “Assessment” section in each lesson provides a four-point proficiency scale to support the summative evaluation of student understanding and completed artwork including self-assessment, peer assessment, portfolio assessment, and educator observation to monitor student growth over time.
Evaluation for 2.1c
As noted previously, each lesson includes an “Assessment” section that provides a four-point proficiency scale to support the evaluation of student understanding and completed artwork. Because each performance level is objectively described, the rubric serves as a guide for evaluating student work consistently. It supports educators in determining the precise level of achievement for each student, reduces subjectivity in scoring, and provides information about student progress. Materials include student answers for factual questions.
The unit 1 summative assessment contains a performance task section that provides educator guidance to support consistent assessment, including a four-point proficiency scale for evaluation. Educators encourage students to reflect on the Big Ideas explored throughout the unit and engage in discussions while referencing artworks they have studied to support their thinking. This reflection helps students connect unit concepts to their created artworks. The assessment provides possible student responses and correct responses for any questions.
Evaluation for 2.1d
The assessment rubric provides performance descriptors to guide educator decision-making and support consistent evaluation of student learning. Throughout the course, the instructional materials include diagnostic, formative, and summative assessments aligned to the TEKS and objectives. The Grade 1 TEKS center on fundamentals such as elements of art, creative expression, cultural relevance, and critical evaluation, which support lessons in this course. All assessments engage the student in active, hands-on skills development or oral discussion, both of which are supported by the TEKS. The materials provide TEKS alignment for each lesson.
For example, in unit 1, lesson 1.3’s “Assess,” the rubric serves as an assessment tool, and it correlates with the lesson objectives, which are aligned to the TEKS. This summative assessment aligns with the lesson objectives and TEKS. Through class discussions, students explain how artists use lines and shapes to represent places and ideas. In critical looking and responding activities, students compare and contrast lines and shapes found in artworks and in their environment. Students then apply their learning by creating an artwork with cardboard printing tools that depicts a beautiful place. This lesson supports grade-level TEKS by incorporating Grade 1 strands of art elements, creative expression, and critical evaluation.
Evaluation for 2.1e
The “Assess” section of unit 4, lesson 4.6 provides a list of hands-on activities and responses with varying levels of complexity in which students demonstrate understanding and mastery of TEKS-aligned objectives. Students have choices and layered ways to show understanding of color and mood, supporting varying levels of complexity. For example, at a foundational level, students may use oil pastels in “daytime” colors and rely on a dark paint overlay to transform the image into a nighttime scene. At a more advanced level, students use dark construction paper and construction paper crayons to intentionally build a night scene from the ground up, requiring stronger control of materials, planning, and detail. Each option reinforces the same concept but allows for different levels of independence, skill development, and artistic decision-making.
TEKS-aligned assessment occurs throughout the text at varying levels of complexity. For example, unit 1, lesson 1.4 opens with students recognizing that toys are objects for play. Then they identify and name shapes. Students move on to the more complex task of cutting shapes, then learn the words geometric and collage. Educators ask students, “What geometric shapes do you see in our classroom that we use every day?” The complexity level of this assessment requires students to generalize. Students create their own collages and discuss using their newly acquired vocabulary.
Evaluation for 2.2a
Assessments and scoring information provide educators guidance they need to interpret performance. For example, the “Studio Exploration” for each unit strand includes an assessment rubric aligned to the lesson objectives. Each lesson includes an “Assess” section with criteria and guidelines for checking student understanding and progress. The program connects these quick assessments to key vocabulary and rubrics, helping educators know what to look for in student work. With checkpoints and portfolio expectations, materials provide guidance for interpreting performance results. Each unit provides an assessment rubric that lists the objectives, evidence, and scoring criteria for each level.
Furthermore, the instructional assessments support interpretation of student learning throughout the “Colorful Stories” unit by revisiting the essential question “How do we tell stories?” and the Big Ideas about how artists and designers use choices to communicate meaning. Assessment questions guide students through the lesson concepts. Students demonstrate understanding by discussing what they learned; giving examples from lessons, their own artwork, or artists studied; and explaining how those examples connect to storytelling in art. Through a portfolio review, reflection, and small-group presentation, students select work that best represents the Big Idea, explain their choices, and share insights about color and meaning. Scoring guidance, along with the provided rubric, ensure that student performance is interpreted according to standards.
Evaluation for 2.2b
“Strategies for Assessment” guides educators to make a list of students’ names before instruction to facilitate collecting and recording assessment results and comments. This list can also inform educators’ responses to trends. The Teacher Edition includes a sidebar for differentiated instruction in each lesson, which addresses individual performance trends. The materials also offer suggestions to respond to the needs of diverse learners, including extra help, advanced learners, EB students, and students with special needs.
Additionally, educators receive guidance on how to adapt tools for students with mobility concerns. Educators support students with attention concerns via computer-based visual exploration to find a variety of exemplars before creating their artworks. Educators support students with visual impairment by providing precut strips of paper. These supports, based upon prior assessment trends, help ensure all students participate and experience success.
Evaluation for 2.2c
Educators track student growth through anecdotal and performance assessment results collected during educator–student conferences. In the “Strategies for Assessment” section, educators examine the importance of alignment across grade levels, which occurs as they implement an “assess while you teach” philosophy by asking questions targeting daily objectives. This ongoing, anecdotal process, combined with formal assessments, allows educators to track student growth and progress. Students also assemble their own portfolios, which authentically depict and track their growth and progress for the educator and themselves.
In addition to using portfolios, students self-assess and track their growth via journals, rubrics, interviews, and written assignments. The “Strategies for Assessment” section includes student self-evaluation tools and student-led activities to aid reflection and independent progress tracking. “Involving Students in Assessment” offers instructions for students to track personal journals, sketchbooks, and physical portfolios. Students create a routine of signing, dating, and assessing their own growth.
2.1 Instructional Assessments
2.1a
Materials include a variety of instructional assessments at the unit and lesson level (including diagnostic, formative, and summative) that vary in types of tasks and questions, including skills demonstration.
Materials include a variety of instructional assessments at the unit and lesson level (including diagnostic, formative, and summative) that vary in types of tasks and questions, including skills demonstration.
3 out of 3 points
Evaluation for 2.1a
Evaluation for 2.1a
Materials include a variety of instructional assessments at the unit and lesson level (including diagnostic, formative, and summative) that vary in types of tasks and questions, including skills demonstration.
3 out of 3 points
Lesson 1.7 also includes formative assessment options that vary by task. For example, students create original crayon rubbings that meet provided studio evaluation criteria in “Things to Remember.” “Assess” provides two questions to determine whether students understand that artists pay attention to texture and students can describe textures in nature. Their descriptions of texture address the prior diagnostic so educators can determine students’ developing understanding. The four-point proficiency rubric scores assessments on lesson and unit levels.
Each unit includes one of a variety of summative assessments and performance tasks to show mastery of lesson material. The unit 1 summative assessments include multiple options such as a match-the-picture task that covers artworks learned in the unit. Students see a scene and write words, phrases, or sentences about what they would do in that scene. Students participate in open discussion using sentence stems. Students engage in critique of an artwork by describing, analyzing, interpreting, and evaluating the piece while supporting their answers with discipline-specific vocabulary. Lastly, students engage in portfolio review, collection, and presentation.
2.1b
Materials include the definition and intended purpose for the types of instructional assessments included.
Materials include the definition and intended purpose for the types of instructional assessments included.
1 out of 1 points
Evaluation for 2.1b
Evaluation for 2.1b
Materials include the definition and intended purpose for the types of instructional assessments included.
1 out of 1 points
Additionally, downloadable lesson plans include an “Assess” section that defines and outlines the intended purpose of art criticism questions, and assessment criteria used for formatives and summatives throughout the course content. The “Assessment” section in each lesson provides a four-point proficiency scale to support the summative evaluation of student understanding and completed artwork including self-assessment, peer assessment, portfolio assessment, and educator observation to monitor student growth over time.
2.1c
Materials include teacher guidance to ensure consistent and accurate administration of instructional assessments.
Materials include teacher guidance to ensure consistent and accurate administration of instructional assessments.
1 out of 1 points
Evaluation for 2.1c
Evaluation for 2.1c
Materials include teacher guidance to ensure consistent and accurate administration of instructional assessments.
1 out of 1 points
The unit 1 summative assessment contains a performance task section that provides educator guidance to support consistent assessment, including a four-point proficiency scale for evaluation. Educators encourage students to reflect on the Big Ideas explored throughout the unit and engage in discussions while referencing artworks they have studied to support their thinking. This reflection helps students connect unit concepts to their created artworks. The assessment provides possible student responses and correct responses for any questions.
2.1d
Diagnostic, formative, and summative assessments are aligned to the TEKS and objectives of the course, unit, or lesson.
Diagnostic, formative, and summative assessments are aligned to the TEKS and objectives of the course, unit, or lesson.
3 out of 3 points
Evaluation for 2.1d
Evaluation for 2.1d
Diagnostic, formative, and summative assessments are aligned to the TEKS and objectives of the course, unit, or lesson.
3 out of 3 points
For example, in unit 1, lesson 1.3’s “Assess,” the rubric serves as an assessment tool, and it correlates with the lesson objectives, which are aligned to the TEKS. This summative assessment aligns with the lesson objectives and TEKS. Through class discussions, students explain how artists use lines and shapes to represent places and ideas. In critical looking and responding activities, students compare and contrast lines and shapes found in artworks and in their environment. Students then apply their learning by creating an artwork with cardboard printing tools that depicts a beautiful place. This lesson supports grade-level TEKS by incorporating Grade 1 strands of art elements, creative expression, and critical evaluation.
2.1e
Instructional assessments include TEKS-aligned items at varying levels of complexity.
Instructional assessments include TEKS-aligned items at varying levels of complexity.
2 out of 2 points
Evaluation for 2.1e
Evaluation for 2.1e
Instructional assessments include TEKS-aligned items at varying levels of complexity.
2 out of 2 points
TEKS-aligned assessment occurs throughout the text at varying levels of complexity. For example, unit 1, lesson 1.4 opens with students recognizing that toys are objects for play. Then they identify and name shapes. Students move on to the more complex task of cutting shapes, then learn the words geometric and collage. Educators ask students, “What geometric shapes do you see in our classroom that we use every day?” The complexity level of this assessment requires students to generalize. Students create their own collages and discuss using their newly acquired vocabulary.
2.2 Data Analysis and Progress Monitoring
2.2a
Instructional assessments and scoring information provide guidance for interpreting student performance.
Instructional assessments and scoring information provide guidance for interpreting student performance.
2 out of 2 points
Evaluation for 2.2a
Evaluation for 2.2a
Instructional assessments and scoring information provide guidance for interpreting student performance.
2 out of 2 points
Furthermore, the instructional assessments support interpretation of student learning throughout the “Colorful Stories” unit by revisiting the essential question “How do we tell stories?” and the Big Ideas about how artists and designers use choices to communicate meaning. Assessment questions guide students through the lesson concepts. Students demonstrate understanding by discussing what they learned; giving examples from lessons, their own artwork, or artists studied; and explaining how those examples connect to storytelling in art. Through a portfolio review, reflection, and small-group presentation, students select work that best represents the Big Idea, explain their choices, and share insights about color and meaning. Scoring guidance, along with the provided rubric, ensure that student performance is interpreted according to standards.
2.2b
Materials provide guidance for the use of included tasks and activities to respond to student trends in performance on assessments.
Materials provide guidance for the use of included tasks and activities to respond to student trends in performance on assessments.
1 out of 1 points
Evaluation for 2.2b
Evaluation for 2.2b
Materials provide guidance for the use of included tasks and activities to respond to student trends in performance on assessments.
1 out of 1 points
Additionally, educators receive guidance on how to adapt tools for students with mobility concerns. Educators support students with attention concerns via computer-based visual exploration to find a variety of exemplars before creating their artworks. Educators support students with visual impairment by providing precut strips of paper. These supports, based upon prior assessment trends, help ensure all students participate and experience success.
2.2c
Materials include tools for teachers to track student progress and growth and tools for students to track their own progress and growth.
Materials include tools for teachers to track student progress and growth and tools for students to track their own progress and growth.
2 out of 2 points
Evaluation for 2.2c
Evaluation for 2.2c
Materials include tools for teachers to track student progress and growth and tools for students to track their own progress and growth.
2 out of 2 points
In addition to using portfolios, students self-assess and track their growth via journals, rubrics, interviews, and written assignments. The “Strategies for Assessment” section includes student self-evaluation tools and student-led activities to aid reflection and independent progress tracking. “Involving Students in Assessment” offers instructions for students to track personal journals, sketchbooks, and physical portfolios. Students create a routine of signing, dating, and assessing their own growth.
Rubric Section 3
Supports for All Learners
Materials support educators in reaching all learners through design focused on engagement, representation, and action/expression for learner variability.
Total
100% (21 out of 21 points)
Evaluation for 3.1a
The “Strategies for Assessment” section guides educators to support students who have not yet reached proficiency by planning for differentiated instruction. Suggested instructional approaches include direct instruction, inquiry-based learning, cooperative learning, information processing strategies such as graphic organizers and scaffolding, choice-based learning, and flexible grouping formats. In addition, educators use portfolios, rubrics, performance-based tasks, self-assessments, knowledge mapping, and other means to ensure that students have various opportunities to demonstrate understanding and gain proficiency.
Additionally, lessons include suggestions to support differentiated instruction for students who are not yet showing proficiency. For example, unit 5, lesson 5.1 offers differentiated instruction, extensions, and scaffolding activities that break the drawing process into smaller, manageable steps, allowing them to build their composition one building at a time while reflecting on their progress. Suggested differentiated supports such as these are provided throughout the course and are tailored to the instructional skill of each TEKS-aligned lesson.
Evaluation for 3.1b
The materials provide embedded supports that clarify unfamiliar vocabulary and contextual references so that students can access, comprehend, and discuss art. Each unit includes a comprehensive vocabulary list, and each unit has a corresponding “Family Tip Sheet” that includes language of the discipline. Unit 2, lesson 2.2 includes vocabulary embedded throughout the lesson to support student understanding of key concepts aligned with the TEKS. Questioning and guided observation practices strengthen vocabulary and conceptual understanding as students analyze posed figures, compare types of poses, and identify visual details such as posture. Educator prompts and discussion questions scaffold understanding by directing attention and encouraging academic language use in context. This support continues into “Studio Time,” when step-by-step instructions help students apply vocabulary as they create partner portraits. Throughout the lesson, embedded supports such as modeling, guided questioning, structured observation, and sequential drawing directions reinforce understanding and ensure students can apply new vocabulary and artistic concepts in analysis and creation.
Additionally, unit 2, lesson 2.3 provides vocabulary and embedded instructional supports throughout the lesson to reinforce student understanding of concepts aligned with the TEKS. The educator reviews lessons 2.1 and 2.2 to reinforce prior vocabulary learning with an emphasis on facial shapes, poses, and details. Students then apply this vocabulary as they create a group portrait.
Evaluation for 3.1c
Unit 5, lesson 5.7 provides educator guidance for differentiated instruction, enrichment, and extension activities to support students who have demonstrated proficiency in the content and skills. Educators challenge advanced learners to extend their compositions by creating a complete scene around a cake, including a room setting and partygoers. Additionally, students complete a “Research Journal” activity in which they draw decorated cakes and experiment with creating decorative patterns using rubber stamps, which promotes creativity, design exploration, and independent artistic practice.
Furthermore, unit 5, lesson 5.9, in which students make paper masks, provides educator guidance for differentiated instruction, enrichment, and extension activities to support students who have demonstrated proficiency in the content and skills. The lesson challenges advanced learners to enhance their mask designs with additional three-dimensional details, including teeth, tongues, eyebrows, whiskers, hair, fur, and manes. “Research Journals” provide extension opportunities in which students transform sketches of animal faces into original ideas for masks or pop-up book pages, which encourages creativity, independent application of skills, and deeper exploration of design concepts.
Evaluation for 3.1d
Educator guidance includes SDI supports in unit 1, lesson 1.7. Educators provide structured language development activities that use antonym-based question prompts to help students understand and apply new vocabulary related to texture, such as distinguishing between rough and smooth, or soft and prickly. Students with hearing impairment receive differentiated support via intentional classroom positioning near the educator, ensuring clear visual access to demonstrations, lip movements, and gestures to support comprehension during instruction and modeling.
Additionally, unit 1, lesson 1.9 includes educator guidance for differentiated instruction and modification supports for physical challenges. To accommodate students with physical challenges, instruction recommends adapting tools by making handles thicker and easier to grasp, such as wrapping clay tools with layers of masking tape or foam insulation. The lesson encourages the use of alternative adaptive materials, including common household items such as kitchen tools or dog toys, to support access, participation, and successful engagement in hands-on clay activities.
Evaluation for 3.2a
In unit 6, lesson 6.1, educators guide students in identifying seasonal characteristics and how light and dark colors can be used to create contrast and emphasis. Students then analyze these concepts in artworks. Throughout the lesson, students receive clear explanations, examples, and reminders as they select a season, create an outdoor scene, and use value contrasts to emphasize important elements in their artwork. Structured prompts, modeling opportunities, and reflective tasks support students during the independent “Studio Exploration.”
Additionally, in unit 6, lesson 6.3, educators use prompts and guidance to support modeling and explanation of key concepts. Educators direct students through observations of images depicting life cycles and plant growth, using targeted questions and a wheel diagram to explain sequential changes. Other prompts help students compare images, identify similarities and differences, and connect concepts to personal experiences. During the independent studio activity, educators provide structured questioning to help students select, sequence, and sketch four stages of a natural change.
Evaluation for 3.2b
A unit 4 lesson on planning a collage includes educator guidance and recommendations to support effective instruction and lesson facilitation through teaching approaches focused on observation, discussion, guided studio practice, and reflection. After students engage in identifying shapes through educator-led questions, they engage in analysis of visual examples. Throughout the lesson, educator prompts guide students from initial exploration to final shared reflection.
Furthermore, unit 4, lesson 4.9 materials support effective instruction through direct instruction, visual analysis, questioning, modeling, and hands-on exploration of clay. The lesson begins with educator-led discussion followed by guided review of animal imagery to prompt observation and descriptive thinking. Students engage in structured visual analysis through focused questioning. Instruction transitions into “Studio Exploration,” during which the educator models and guides clay manipulation and texture creation while students experiment with materials and plan their designs. Throughout the lesson, scaffolding, prompting, and inquiry-based questioning support student understanding and application of artistic concepts in a hands-on creative process.
Evaluation for 3.2c
The unit 2, lesson 2.8 materials provide guided, collaborative, and independent practice. During the “Engage” section, the educator facilitates a whole-group discussion, asking students to think about a building they like, what it looks like, and its importance. The educator introduces the vocabulary term architect and guides students by demonstrating how to identify geometric shapes within images of buildings. Following this instruction, students work independently during “Studio Time” to design and construct their own buildings using the demonstrated techniques. Collaborative opportunities occur throughout the lesson as students work, allowing them to share ideas, discuss building features such as shapes and sizes, and compare their design choices to classmates’.
Additionally, in unit 5, lesson 5.1, the educator engages students by asking direct questions about the content. As students examine images, the educator provides structured guidance by modeling how to observe and interpret visual details, asking targeted questions about what they can learn from historic and contemporary photographs of cities. Following the visual analysis and guided exploration, students create drawings of their city or town, demonstrating drawing from memory and representing action. Students consider how to depict buildings, translate memories of places into drawings, and apply their understanding of showing action.
Evaluation for 3.3a
Unit 1, lesson 1.2 materials include educator guidance on providing linguistic accommodations for various levels of language proficiency. As the lesson begins, the materials guide the educator to realize that EB students’ knowledge of English adverbs may vary, prompting the educator to introduce the new lesson or concept by modeling the idea that lines can “go up, down, and around.” The educator draws arrows and makes gestures to illustrate, using the image to encourage discussion and demonstration of what the lines look like, which supports language and skills acquisition.
Additionally, embedded differentiation supports in unit 3, lesson 3.7 help educators meet the needs of EB students as they engage with visual art and language-based content. For example, students visualize phrases from the featured poem, such as “rain comes in sheets, sweeping the streets, lean and tilt,” to build understanding of how words connect to meaning and imagery, while reinforcing that showers is a synonym for rain. The lesson further supports language comprehension by encouraging students to act out key phrases and vocabulary as the poem is read aloud, allowing the educator to scaffold understanding and provide responsive support as students physically and visually connect language to meaning during the activity.
Evaluation for 3.3b
In unit 3, lesson 3.4, the “Differentiated Instruction” section offers educator strategies to help students connect language to meaning. The lesson acknowledges that some words may have multiple meanings and encourages educators to support understanding through modeling, discussion, and acting out vocabulary terms. These supports help educators implement instructional strategies that strengthen language development while maintaining access to lesson content and artistic concepts.
Additionally, in unit 4, lesson 4.6, the “Differentiated Instruction” section provides embedded suggestions to help educators support EB students throughout lesson activities, ensuring access to content and language development. In addition, the “Language Arts” section offers structured support for integrating creative expression with language use by encouraging students to use sentence stems to brainstorm ideas, add words and phrases, and reflect on their artistic thinking as they plan their artworks. These components provide educators with practical guidance for scaffolding instruction and supporting EB students as they connect language development with visual art experiences. Materials include educator guidance, cross-disciplinary connections, Spanish glossaries, and a built-in translation tool on the Davis Digital website to translate website content and all student texts into several languages.
Evaluation for 3.3c
Unit 4, lesson 4.5 materials provide embedded supports for EB students by guiding educators to develop academic and discipline-specific vocabulary, strengthen comprehension, and make cross-linguistic connections. The “Differentiated Instruction” section encourages students to explore related vocabulary by generating words connected to the lesson’s focus, such as landscape, cityscape, and seascape, helping students build meaning through oral language and discussion. The materials provide Spanish translations of key vocabulary and identify cognates and noncognates, allowing educators to explicitly connect English and Spanish language structures and support students in understanding new art concepts.
Additionally, writing activities in unit 5, lesson 5.3 support EB students as they build vocabulary, comprehension, and personal connections. The “Differentiated Instruction” section guides educators to support EB students by encouraging students to brainstorm and write about buildings from a familiar town or community, allowing those who have recently moved to connect their prior experiences to new learning. This opportunity also validates students’ backgrounds and promotes engagement through cross-linguistic and personal connections. Lastly, the “Writing Process” inset supports students in developing written communication skills by guiding them to revise and refine their ideas, helping them understand that artists use reflection and revision as part of the creative process.
Evaluation for 3.3d
This guidance is not applicable because the program is not designed for dual language immersion (DLI) programs.
3.1 Differentiation and Scaffolds
3.1a
Materials include teacher guidance for differentiated instruction, activities, and/or paired (scaffolded) lessons for students who have not yet reached proficiency on content and skills in the course TEKS.
Materials include teacher guidance for differentiated instruction, activities, and/or paired (scaffolded) lessons for students who have not yet reached proficiency on content and skills in the course TEKS.
1 out of 1 points
Evaluation for 3.1a
Evaluation for 3.1a
Materials include teacher guidance for differentiated instruction, activities, and/or paired (scaffolded) lessons for students who have not yet reached proficiency on content and skills in the course TEKS.
1 out of 1 points
Additionally, lessons include suggestions to support differentiated instruction for students who are not yet showing proficiency. For example, unit 5, lesson 5.1 offers differentiated instruction, extensions, and scaffolding activities that break the drawing process into smaller, manageable steps, allowing them to build their composition one building at a time while reflecting on their progress. Suggested differentiated supports such as these are provided throughout the course and are tailored to the instructional skill of each TEKS-aligned lesson.
3.1b
Materials include pre-teaching or embedded supports for unfamiliar vocabulary and references in text (e.g., figurative language, idioms, academic and discipline-specific language).
Materials include pre-teaching or embedded supports for unfamiliar vocabulary and references in text (e.g., figurative language, idioms, academic and discipline-specific language).
2 out of 2 points
Evaluation for 3.1b
Evaluation for 3.1b
Materials include pre-teaching or embedded supports for unfamiliar vocabulary and references in text (e.g., figurative language, idioms, academic and discipline-specific language).
2 out of 2 points
Additionally, unit 2, lesson 2.3 provides vocabulary and embedded instructional supports throughout the lesson to reinforce student understanding of concepts aligned with the TEKS. The educator reviews lessons 2.1 and 2.2 to reinforce prior vocabulary learning with an emphasis on facial shapes, poses, and details. Students then apply this vocabulary as they create a group portrait.
3.1c
Materials include teacher guidance for differentiated instruction, enrichment, and extension activities for students who have demonstrated proficiency in content and skills in the course TEKS.
Materials include teacher guidance for differentiated instruction, enrichment, and extension activities for students who have demonstrated proficiency in content and skills in the course TEKS.
1 out of 1 points
Evaluation for 3.1c
Evaluation for 3.1c
Materials include teacher guidance for differentiated instruction, enrichment, and extension activities for students who have demonstrated proficiency in content and skills in the course TEKS.
1 out of 1 points
Furthermore, unit 5, lesson 5.9, in which students make paper masks, provides educator guidance for differentiated instruction, enrichment, and extension activities to support students who have demonstrated proficiency in the content and skills. The lesson challenges advanced learners to enhance their mask designs with additional three-dimensional details, including teeth, tongues, eyebrows, whiskers, hair, fur, and manes. “Research Journals” provide extension opportunities in which students transform sketches of animal faces into original ideas for masks or pop-up book pages, which encourages creativity, independent application of skills, and deeper exploration of design concepts.
3.1d
Materials include teacher guidance for providing specially designed instruction (SDI) for students receiving supports and services through special education.
Materials include teacher guidance for providing specially designed instruction (SDI) for students receiving supports and services through special education.
1 out of 1 points
Evaluation for 3.1d
Evaluation for 3.1d
Materials include teacher guidance for providing specially designed instruction (SDI) for students receiving supports and services through special education.
1 out of 1 points
Additionally, unit 1, lesson 1.9 includes educator guidance for differentiated instruction and modification supports for physical challenges. To accommodate students with physical challenges, instruction recommends adapting tools by making handles thicker and easier to grasp, such as wrapping clay tools with layers of masking tape or foam insulation. The lesson encourages the use of alternative adaptive materials, including common household items such as kitchen tools or dog toys, to support access, participation, and successful engagement in hands-on clay activities.
3.2 Instructional Methods
3.2a
Materials include explicit (direct) prompts and guidance to support the teacher in modeling and explaining the concept(s) to be learned.
Materials include explicit (direct) prompts and guidance to support the teacher in modeling and explaining the concept(s) to be learned.
2 out of 2 points
Evaluation for 3.2a
Evaluation for 3.2a
Materials include explicit (direct) prompts and guidance to support the teacher in modeling and explaining the concept(s) to be learned.
2 out of 2 points
Additionally, in unit 6, lesson 6.3, educators use prompts and guidance to support modeling and explanation of key concepts. Educators direct students through observations of images depicting life cycles and plant growth, using targeted questions and a wheel diagram to explain sequential changes. Other prompts help students compare images, identify similarities and differences, and connect concepts to personal experiences. During the independent studio activity, educators provide structured questioning to help students select, sequence, and sketch four stages of a natural change.
3.2b
Materials include teacher guidance and recommendations for effective lesson delivery and facilitation using a variety of instructional approaches.
Materials include teacher guidance and recommendations for effective lesson delivery and facilitation using a variety of instructional approaches.
1 out of 1 points
Evaluation for 3.2b
Evaluation for 3.2b
Materials include teacher guidance and recommendations for effective lesson delivery and facilitation using a variety of instructional approaches.
1 out of 1 points
Furthermore, unit 4, lesson 4.9 materials support effective instruction through direct instruction, visual analysis, questioning, modeling, and hands-on exploration of clay. The lesson begins with educator-led discussion followed by guided review of animal imagery to prompt observation and descriptive thinking. Students engage in structured visual analysis through focused questioning. Instruction transitions into “Studio Exploration,” during which the educator models and guides clay manipulation and texture creation while students experiment with materials and plan their designs. Throughout the lesson, scaffolding, prompting, and inquiry-based questioning support student understanding and application of artistic concepts in a hands-on creative process.
3.2c
Materials support multiple types of practice (e.g., guided, independent, collaborative) and include guidance for teachers and recommended structures (e.g., whole group, small group, individual) to support effective implementation.
Materials support multiple types of practice (e.g., guided, independent, collaborative) and include guidance for teachers and recommended structures (e.g., whole group, small group, individual) to support effective implementation.
2 out of 2 points
Evaluation for 3.2c
Evaluation for 3.2c
Materials support multiple types of practice (e.g., guided, independent, collaborative) and include guidance for teachers and recommended structures (e.g., whole group, small group, individual) to support effective implementation.
2 out of 2 points
Additionally, in unit 5, lesson 5.1, the educator engages students by asking direct questions about the content. As students examine images, the educator provides structured guidance by modeling how to observe and interpret visual details, asking targeted questions about what they can learn from historic and contemporary photographs of cities. Following the visual analysis and guided exploration, students create drawings of their city or town, demonstrating drawing from memory and representing action. Students consider how to depict buildings, translate memories of places into drawings, and apply their understanding of showing action.
3.3 Support for Emergent Bilingual Students
3.3a
Materials include teacher guidance on providing linguistic accommodations for various levels of language proficiency [as defined by the English Language Proficiency Standards (ELPS)], which are designed to engage students in using increasingly more academic and discipline-specific language.
Materials include teacher guidance on providing linguistic accommodations for various levels of language proficiency [as defined by the English Language Proficiency Standards (ELPS)], which are designed to engage students in using increasingly more academic and discipline-specific language.
2 out of 2 points
Evaluation for 3.3a
Evaluation for 3.3a
Materials include teacher guidance on providing linguistic accommodations for various levels of language proficiency [as defined by the English Language Proficiency Standards (ELPS)], which are designed to engage students in using increasingly more academic and discipline-specific language.
2 out of 2 points
Additionally, embedded differentiation supports in unit 3, lesson 3.7 help educators meet the needs of EB students as they engage with visual art and language-based content. For example, students visualize phrases from the featured poem, such as “rain comes in sheets, sweeping the streets, lean and tilt,” to build understanding of how words connect to meaning and imagery, while reinforcing that showers is a synonym for rain. The lesson further supports language comprehension by encouraging students to act out key phrases and vocabulary as the poem is read aloud, allowing the educator to scaffold understanding and provide responsive support as students physically and visually connect language to meaning during the activity.
3.3b
Materials include implementation guidance to support teachers in effectively using the materials in state-approved bilingual/ESL programs.
Materials include implementation guidance to support teachers in effectively using the materials in state-approved bilingual/ESL programs.
1 out of 1 points
Evaluation for 3.3b
Evaluation for 3.3b
Materials include implementation guidance to support teachers in effectively using the materials in state-approved bilingual/ESL programs.
1 out of 1 points
Additionally, in unit 4, lesson 4.6, the “Differentiated Instruction” section provides embedded suggestions to help educators support EB students throughout lesson activities, ensuring access to content and language development. In addition, the “Language Arts” section offers structured support for integrating creative expression with language use by encouraging students to use sentence stems to brainstorm ideas, add words and phrases, and reflect on their artistic thinking as they plan their artworks. These components provide educators with practical guidance for scaffolding instruction and supporting EB students as they connect language development with visual art experiences. Materials include educator guidance, cross-disciplinary connections, Spanish glossaries, and a built-in translation tool on the Davis Digital website to translate website content and all student texts into several languages.
3.3c
Materials include embedded guidance for teachers to support emergent bilingual students in developing academic and discipline-specific vocabulary, increasing comprehension, building background knowledge, and making cross-linguistic connections through oral and written discourse.
Materials include embedded guidance for teachers to support emergent bilingual students in developing academic and discipline-specific vocabulary, increasing comprehension, building background knowledge, and making cross-linguistic connections through oral and written discourse.
8 out of 8 points
Evaluation for 3.3c
Evaluation for 3.3c
Materials include embedded guidance for teachers to support emergent bilingual students in developing academic and discipline-specific vocabulary, increasing comprehension, building background knowledge, and making cross-linguistic connections through oral and written discourse.
8 out of 8 points
Additionally, writing activities in unit 5, lesson 5.3 support EB students as they build vocabulary, comprehension, and personal connections. The “Differentiated Instruction” section guides educators to support EB students by encouraging students to brainstorm and write about buildings from a familiar town or community, allowing those who have recently moved to connect their prior experiences to new learning. This opportunity also validates students’ backgrounds and promotes engagement through cross-linguistic and personal connections. Lastly, the “Writing Process” inset supports students in developing written communication skills by guiding them to revise and refine their ideas, helping them understand that artists use reflection and revision as part of the creative process.
3.3d
If designed for dual language immersion (DLI) programs, materials include resources that outline opportunities to address metalinguistic transfer from English to the partner language.
If designed for dual language immersion (DLI) programs, materials include resources that outline opportunities to address metalinguistic transfer from English to the partner language.
Not applicable.
Evaluation for 3.3d
Evaluation for 3.3d
If designed for dual language immersion (DLI) programs, materials include resources that outline opportunities to address metalinguistic transfer from English to the partner language.
Not applicable.
Rubric Section 4
Artistic Literacy and Creative Expression
Materials are designed to develop and refine discipline-specific artistic knowledge and skills while providing opportunities for students to perform, exhibit, or present artistic works.
Total
100% (16 out of 16 points)
Evaluation for 4.1a
The “Teach Through Inquiry” section of unit 1, lesson 1.2 provides educator guidance to facilitate student discussion about how the vocabulary terms line and shape are used in nature drawings. The guidance identifies specific artworks for modeling and includes language prompts such as “An artist planned out this garden. Encourage students to point out lines in the picture. Elicit that many of the lines that cross form squares—some filled with flowers.” The lesson includes questions to check student understanding, and provides two artwork examples for students to use in identifying and explaining how artists use line and shape in nature through guided and independent practice. The materials also include a checklist and evaluation criteria for educators to use in observing student work and providing feedback.
Additionally, unit 2, lesson 2.3’s “Teach Through Inquiry” section provides directions to facilitate discussion of the vocabulary word expression relative to how artists represent people and relationships. Guidance identifies specific artworks for instructional use and provides structured language prompts such as “Focus on image A. What are these people doing?” and “What details do you see?” The lesson includes a “Studio Exploration” in which materials prompt educators to ask questions to check understanding, demonstrate processes, and support student experimentation through guided and independent practice. The materials also include evaluation criteria to support observation and feedback on student work.
Evaluation for 4.1b
In unit 3, lesson 3.6’s “Introduce to Studio” section, students build on prior knowledge of warm and cool colors, tints and shades, and storytelling when learning about color as an element of art. Students review the concept of color and apply it in a story-based painting activity, selecting a personal experience to represent through artwork. The lesson provides guidance for educators to support students using a range of tints, shades, and warm and cool colors to create a story painting that demonstrates understanding of color relationships and application.
Unit 6, lesson 6.4 also connects new content to prior learning. Guidance supports student understanding that artists create patterns through repeated lines, shapes, and colors, and that students can use these elements to identify details in artwork. In the “Engage” section, educators prompt student connections between dressing up for events and patterns found in clothing. Since repetition in pattern is the new concept, guidance suggests that educators engage with new content by revisiting the experience of drawing a self-portrait, adding patterned clothing. The educator demonstrates how repeated lines, shapes, and colors create visual patterns.
Evaluation for 4.1c
Students develop and use discipline-specific vocabulary in unit 2, lesson 2.2. In the “Engage” section, the educator introduces key terms related to portraiture through definitions and explanations connected to the lesson content. Students analyze images A–C and use vocabulary to describe shapes, patterns, colors, poses, and details in portraits. The lesson includes educator modeling and student practice as students create their own portraits and apply vocabulary words. Educators further reinforce vocabulary through explicit instruction and guided application that requires students to reference and apply terms when discussing their work and that of peers.
Additionally, in unit 5, lesson 5.3, the educator introduces definitions of specific elements of art and students practice identifying these elements while exploring and creating images. In the “Explore the Images” section, students use vocabulary to describe and identify what they observe. They also apply this vocabulary during the creation of a relief sculpture, incorporating elements of art into their work. The materials guide students to use appropriate vocabulary when identifying, interpreting, and analyzing artworks.
Evaluation for 4.1d
Unit 1, lesson 1.6 includes activities and tasks that require students to demonstrate development of artistic literacy in alignment with the course TEKS. As students engage in discussing provided images in “Explore the Images,” for example, they demonstrate understanding of lesson concepts. In “Studio Exploration,” the educator models arranging shapes and lines, and students cut out geometric and free-form shapes in various sizes to create a playground collage. The lesson provides guidance for educator modeling and student creation, reflection, and review of the concept of arrangement. A formative assessment requires students to assemble and arrange shapes, following demonstrated techniques. A summative assessment includes educator questions or student written responses to art-criticism prompts to demonstrate understanding of discipline-specific artistic vocabulary.
Additionally, at the beginning of unit 2, students engage in discussions about concepts using unit vocabulary. They then analyze two artworks by Mary Cassatt, completing a Venn diagram to show comparison of elements and features with appropriate vocabulary. Students participate in a “Quick Question Review,” which includes a few formative questions as a quick check for understanding. Lastly, using their new knowledge, students make inferences about the purpose of Mary Cassatt’s works and how they reflect her concerns.
Evaluation for 4.2a
The unit 3 lesson plan for lesson 3.5 includes educator guidance on defining and mixing tints and shades, sequenced steps to model procedures, and prompts for instruction such as connecting prior knowledge of primary and secondary colors, and warm and cool colors. Reviewing prior learning leads into new content about mixing light and dark colors. The lesson includes activities in which students discuss and analyze three images and practice mixing tints and shades following educator demonstrations. The lesson provides educators with the TEKS correlations information and a checklist aligned to the task for assessing student work, evaluating criteria, and supporting feedback.
Additionally, unit 4, lesson 4.6 provides explicit instruction when introducing the artistic skill of resist painting. The materials include educator guidance for introducing the concept through discussion prompts, sequenced modeling steps, and directions for “Studio Exploration.” For example, the materials direct educators to explain that students will create a nighttime landscape using colors associated with darkness. The lesson includes structured studio procedures in which students view images; create artwork; and reflect, revise, and present their work following educator demonstration. The materials include a rubric for assessing student work based on defined criteria aligned to the lesson objectives and the TEKS.
Evaluation for 4.2b
Unit 4 is organized into strands with two introductory lessons and a “Studio Exploration” that builds on previously learned skills. Following this structure, students review prior learning related to depicting objects at various distances and using repeated lines and colors from units 2 and 3. The educator leads a discussion on how color choices can suggest various times of day, and models the use of darker colors to create a nighttime landscape. Students then compare how the same scene would appear during the daytime, noting differences in brightness and level of detail when using daytime colors.
Additionally, in unit 4, lesson 4.9 includes student prompts to connect prior learning from lessons 4.7 and 4.8 related to planning and designing animal shapes and adding textures, as well as concepts from unit 1 such as form, shape, and texture. The lesson provides question prompts for students to identify, explain, and name these connections. The guidance instructs the educator to model how to apply these skills in a new clay project in which students create a four-legged animal with realistic design features. Students reflect on how previously learned concepts support the development of details and animal forms in their current work.
Evaluation for 4.2c
In unit 1, lesson 1.9, students use visual references, guided demonstrations, and drawing tools to learn foundational concepts related to texture. Students apply this understanding by creating a clay animal sculpture that incorporates textures and patterns. They then present their completed work during a class critique, describe how they applied textures and patterns in their sculptures, and explain how the work should be displayed. Materials include an “Art Criticism” protocol that students use to support how they structure their comments about artworks.
Additionally, in unit 5, students use visual references, guided demonstrations, and drawing tools to review artworks created throughout the unit and identify one or two pieces that align with the unit concept, providing reasons for their choices. In the “Portfolio Review, Reflection, and Presentation” section, students select their strongest works, engage in discussion with peers, and identify next steps for their artworks. Students share their selected pieces during a class critique, explain their choices, and discuss how the work should be displayed, demonstrating understanding through presentation and reflection activities.
Evaluation for 4.2d
In unit 1, lesson 1.1, students develop drawing skills through a sequence of scaffolded activities focused on observation and line identification. Students identify and distinguish different types of lines when examining buildings, then progress to creating thumbnail sketches to plan line compositions using varied materials to support accuracy. Students apply these skills during “Studio Explorations” and demonstrate their work through creating and sharing visual compositions of buildings.
Additionally, in unit 6, lesson 6.3, students refine drawing skills through scaffolded activities that build across the lesson sequence. In “Studio Exploration,” students follow a process to develop observation skills and distinguish between large and small shapes in artworks. Instruction progresses to thumbnail sketching in which students use larger shapes to represent backgrounds and smaller shapes to represent objects to show change over time and improve accuracy.
Evaluation for 4.2e
In unit 1’s “Review,” students assemble a portfolio of selected artworks from the unit. In the “Portfolio Review, Reflection, and Presentation” section, students select art pieces aligned to the unit’s Big Idea, collaborate with a partner to discuss their artworks, identify preferred works, describe methods used in each work, and consider opportunities for revision or reproduction. Students then select one artwork to display in a class exhibition and present it to others. The cumulative portfolio activity requires students to demonstrate mastery as they present and discuss their artworks.
Additionally, in unit 4, lesson 4.3, students complete a “Studio Exploration” activity in which they exhibit their finished insect artworks and describe what they learned about observing details. Students explain how attention to detail supported their design decisions and how they incorporated repetition of lines, shapes, and colors into their work. Each student presents their artwork and provides an oral explanation of their process and design choices, demonstrating understanding of how their design decisions informed the creation of their insects.
Evaluation for 4.3a
Unit 2, lesson 2.6 enables students to learn how to represent people in action through sculpture, use clay to create different forms, identify subject matter, and describe the three-dimensional characteristics of sculpture. Students create clay sculpture, using various tools to produce texture and detail. The unit 2 materials include prior lessons in which students depicted people in action, identifying details, showing spatial relationships, and representing expressions to support current learning. The educator explains various media, techniques, and characteristics throughout the lesson sequence, supporting comparison of art forms such as drawing, painting, collage, printmaking, assemblage, and sculptural modeling and construction.
In unit 4, lesson 4.4, students create a monoprint landscape, supported by educator guidance on techniques and processes for a variety of media. Throughout the course, students engage with materials for drawing, painting, clay, printmaking, collage, construction, assemblage, design, fiber art, and papier-mâché.
Evaluation for 4.3b
Students create, adapt, and extend discipline-specific artistic work for presentation in unit 5, lesson 5.4, observing how artists use color to communicate meaning and express emotions related to memory and celebration. During “Studio Time,” students create artwork representing a personal memory and apply color choices to communicate meaning in their work. Students add their artworks to their portfolios and, in the unit 5 summative, identify their favorite pieces from the unit, discuss their selections with a peer, and curate a unit exhibition of their chosen pieces.
“Allow Time for Children to Share” describes how the curriculum’s approach invites and encourages students to share artworks, advising, “Listen to what children say about their work and invite them to talk about how they began or the story their work tells.” The materials go on to state that presenting artworks gives students “a chance to use their art terms as they share their work and ideas,” which supports retention of their knowledge and skills. “Document” and “Display” sections provide the philosophical rationale for presentation. Guidance materials include support for all students to maintain a portfolio as the foundation for their presentations throughout the course.
Evaluation for 4.3c
In unit 3, lesson 3.6’s “Studio Exploration,” students select warm or cool colors and choose tints and shades to support the mood and context of their painted story. Before beginning their artwork, students respond to guiding questions about the characters, actions, and setting. Their responses guide them to decide how they will visually communicate that their story is based on a real event, and identify which colors they will use. These opportunities support student choice and decision-making as students plan and create an artwork that reflects their own ideas within the lesson objectives.
Unit 4, lesson 4.1 offers educator guidance on promoting student agency in making or selecting artistic works for study, exhibition, or presentation. During “Studio Exploration,” students observe close-up photographs of insects and select one as the subject for an observational drawing, supporting student choice in the art-making process. The lesson guides students to examine symmetry by imagining a line down the center of the insect and identifying corresponding shapes on each side before creating a pencil outline. Students then add color, matching the hues in the reference photographs and adding details that reflect the close-up perspective.
4.1 Artistic Literacy
4.1a
Materials include guidance for teachers to provide explicit (direct) instruction in discipline-specific artistic literacy in alignment with the course TEKS.
Materials include guidance for teachers to provide explicit (direct) instruction in discipline-specific artistic literacy in alignment with the course TEKS.
1 out of 1 points
Evaluation for 4.1a
Evaluation for 4.1a
Materials include guidance for teachers to provide explicit (direct) instruction in discipline-specific artistic literacy in alignment with the course TEKS.
1 out of 1 points
Additionally, unit 2, lesson 2.3’s “Teach Through Inquiry” section provides directions to facilitate discussion of the vocabulary word expression relative to how artists represent people and relationships. Guidance identifies specific artworks for instructional use and provides structured language prompts such as “Focus on image A. What are these people doing?” and “What details do you see?” The lesson includes a “Studio Exploration” in which materials prompt educators to ask questions to check understanding, demonstrate processes, and support student experimentation through guided and independent practice. The materials also include evaluation criteria to support observation and feedback on student work.
4.1b
Materials explicitly connect new discipline-specific artistic literacy to prior learning across lessons and units within the course and across courses as applicable.
Materials explicitly connect new discipline-specific artistic literacy to prior learning across lessons and units within the course and across courses as applicable.
2 out of 2 points
Evaluation for 4.1b
Evaluation for 4.1b
Materials explicitly connect new discipline-specific artistic literacy to prior learning across lessons and units within the course and across courses as applicable.
2 out of 2 points
Unit 6, lesson 6.4 also connects new content to prior learning. Guidance supports student understanding that artists create patterns through repeated lines, shapes, and colors, and that students can use these elements to identify details in artwork. In the “Engage” section, educators prompt student connections between dressing up for events and patterns found in clothing. Since repetition in pattern is the new concept, guidance suggests that educators engage with new content by revisiting the experience of drawing a self-portrait, adding patterned clothing. The educator demonstrates how repeated lines, shapes, and colors create visual patterns.
4.1c
Materials consistently provide opportunities for students to develop and use discipline-specific artistic literacy vocabulary.
Materials consistently provide opportunities for students to develop and use discipline-specific artistic literacy vocabulary.
2 out of 2 points
Evaluation for 4.1c
Evaluation for 4.1c
Materials consistently provide opportunities for students to develop and use discipline-specific artistic literacy vocabulary.
2 out of 2 points
Additionally, in unit 5, lesson 5.3, the educator introduces definitions of specific elements of art and students practice identifying these elements while exploring and creating images. In the “Explore the Images” section, students use vocabulary to describe and identify what they observe. They also apply this vocabulary during the creation of a relief sculpture, incorporating elements of art into their work. The materials guide students to use appropriate vocabulary when identifying, interpreting, and analyzing artworks.
4.1d
Materials include activities and tasks that require students to demonstrate understanding of discipline-specific artistic literacy in alignment with the course TEKS.
Materials include activities and tasks that require students to demonstrate understanding of discipline-specific artistic literacy in alignment with the course TEKS.
1 out of 1 points
Evaluation for 4.1d
Evaluation for 4.1d
Materials include activities and tasks that require students to demonstrate understanding of discipline-specific artistic literacy in alignment with the course TEKS.
1 out of 1 points
Additionally, at the beginning of unit 2, students engage in discussions about concepts using unit vocabulary. They then analyze two artworks by Mary Cassatt, completing a Venn diagram to show comparison of elements and features with appropriate vocabulary. Students participate in a “Quick Question Review,” which includes a few formative questions as a quick check for understanding. Lastly, using their new knowledge, students make inferences about the purpose of Mary Cassatt’s works and how they reflect her concerns.
4.2 Artistic Skill
4.2a
Materials include guidance for teachers to provide explicit (direct) instruction in discipline-specific artistic skills at developmentally appropriate levels and in alignment with the course TEKS.
Materials include guidance for teachers to provide explicit (direct) instruction in discipline-specific artistic skills at developmentally appropriate levels and in alignment with the course TEKS.
1 out of 1 points
Evaluation for 4.2a
Evaluation for 4.2a
Materials include guidance for teachers to provide explicit (direct) instruction in discipline-specific artistic skills at developmentally appropriate levels and in alignment with the course TEKS.
1 out of 1 points
Additionally, unit 4, lesson 4.6 provides explicit instruction when introducing the artistic skill of resist painting. The materials include educator guidance for introducing the concept through discussion prompts, sequenced modeling steps, and directions for “Studio Exploration.” For example, the materials direct educators to explain that students will create a nighttime landscape using colors associated with darkness. The lesson includes structured studio procedures in which students view images; create artwork; and reflect, revise, and present their work following educator demonstration. The materials include a rubric for assessing student work based on defined criteria aligned to the lesson objectives and the TEKS.
4.2b
Materials explicitly connect new discipline-specific artistic skills to prior learning across lessons and units within the course and across courses as applicable.
Materials explicitly connect new discipline-specific artistic skills to prior learning across lessons and units within the course and across courses as applicable.
2 out of 2 points
Evaluation for 4.2b
Evaluation for 4.2b
Materials explicitly connect new discipline-specific artistic skills to prior learning across lessons and units within the course and across courses as applicable.
2 out of 2 points
Additionally, in unit 4, lesson 4.9 includes student prompts to connect prior learning from lessons 4.7 and 4.8 related to planning and designing animal shapes and adding textures, as well as concepts from unit 1 such as form, shape, and texture. The lesson provides question prompts for students to identify, explain, and name these connections. The guidance instructs the educator to model how to apply these skills in a new clay project in which students create a four-legged animal with realistic design features. Students reflect on how previously learned concepts support the development of details and animal forms in their current work.
4.2c
Materials provide opportunities for students to develop discipline-specific artistic skills through performing, exhibiting, or presenting artistic works at developmentally appropriate levels and in alignment with the course TEKS.
Materials provide opportunities for students to develop discipline-specific artistic skills through performing, exhibiting, or presenting artistic works at developmentally appropriate levels and in alignment with the course TEKS.
1 out of 1 points
Evaluation for 4.2c
Evaluation for 4.2c
Materials provide opportunities for students to develop discipline-specific artistic skills through performing, exhibiting, or presenting artistic works at developmentally appropriate levels and in alignment with the course TEKS.
1 out of 1 points
Additionally, in unit 5, students use visual references, guided demonstrations, and drawing tools to review artworks created throughout the unit and identify one or two pieces that align with the unit concept, providing reasons for their choices. In the “Portfolio Review, Reflection, and Presentation” section, students select their strongest works, engage in discussion with peers, and identify next steps for their artworks. Students share their selected pieces during a class critique, explain their choices, and discuss how the work should be displayed, demonstrating understanding through presentation and reflection activities.
4.2d
Materials provide opportunities for students to refine discipline-specific artistic skills through activities and tasks that progressively increase in rigor and complexity over lessons and units within the course.
Materials provide opportunities for students to refine discipline-specific artistic skills through activities and tasks that progressively increase in rigor and complexity over lessons and units within the course.
2 out of 2 points
Evaluation for 4.2d
Evaluation for 4.2d
Materials provide opportunities for students to refine discipline-specific artistic skills through activities and tasks that progressively increase in rigor and complexity over lessons and units within the course.
2 out of 2 points
Additionally, in unit 6, lesson 6.3, students refine drawing skills through scaffolded activities that build across the lesson sequence. In “Studio Exploration,” students follow a process to develop observation skills and distinguish between large and small shapes in artworks. Instruction progresses to thumbnail sketching in which students use larger shapes to represent backgrounds and smaller shapes to represent objects to show change over time and improve accuracy.
4.2e
Materials include activities and tasks that require students to demonstrate mastery of discipline-specific artistic skills through performing, exhibiting, or presenting artistic works at developmentally appropriate levels and in alignment with the course TEKS.
Materials include activities and tasks that require students to demonstrate mastery of discipline-specific artistic skills through performing, exhibiting, or presenting artistic works at developmentally appropriate levels and in alignment with the course TEKS.
1 out of 1 points
Evaluation for 4.2e
Evaluation for 4.2e
Materials include activities and tasks that require students to demonstrate mastery of discipline-specific artistic skills through performing, exhibiting, or presenting artistic works at developmentally appropriate levels and in alignment with the course TEKS.
1 out of 1 points
Additionally, in unit 4, lesson 4.3, students complete a “Studio Exploration” activity in which they exhibit their finished insect artworks and describe what they learned about observing details. Students explain how attention to detail supported their design decisions and how they incorporated repetition of lines, shapes, and colors into their work. Each student presents their artwork and provides an oral explanation of their process and design choices, demonstrating understanding of how their design decisions informed the creation of their insects.
4.3 Creative Expression
4.3a
Materials provide opportunities for students to explore a variety of discipline-specific art forms (e.g., variety of media, variety of performance genres and styles).
Materials provide opportunities for students to explore a variety of discipline-specific art forms (e.g., variety of media, variety of performance genres and styles).
1 out of 1 points
Evaluation for 4.3a
Evaluation for 4.3a
Materials provide opportunities for students to explore a variety of discipline-specific art forms (e.g., variety of media, variety of performance genres and styles).
1 out of 1 points
In unit 4, lesson 4.4, students create a monoprint landscape, supported by educator guidance on techniques and processes for a variety of media. Throughout the course, students engage with materials for drawing, painting, clay, printmaking, collage, construction, assemblage, design, fiber art, and papier-mâché.
4.3b
Materials provide opportunities for students to create, adapt, or extend discipline-specific artistic works for performance, exhibition, or presentation (in line with appropriate fair use and copyright).
Materials provide opportunities for students to create, adapt, or extend discipline-specific artistic works for performance, exhibition, or presentation (in line with appropriate fair use and copyright).
1 out of 1 points
Evaluation for 4.3b
Evaluation for 4.3b
Materials provide opportunities for students to create, adapt, or extend discipline-specific artistic works for performance, exhibition, or presentation (in line with appropriate fair use and copyright).
1 out of 1 points
“Allow Time for Children to Share” describes how the curriculum’s approach invites and encourages students to share artworks, advising, “Listen to what children say about their work and invite them to talk about how they began or the story their work tells.” The materials go on to state that presenting artworks gives students “a chance to use their art terms as they share their work and ideas,” which supports retention of their knowledge and skills. “Document” and “Display” sections provide the philosophical rationale for presentation. Guidance materials include support for all students to maintain a portfolio as the foundation for their presentations throughout the course.
4.3c
Materials include guidance for teachers on promoting student agency in making or selecting discipline-specific artistic works for study, performance, exhibition, or presentation.
Materials include guidance for teachers on promoting student agency in making or selecting discipline-specific artistic works for study, performance, exhibition, or presentation.
1 out of 1 points
Evaluation for 4.3c
Evaluation for 4.3c
Materials include guidance for teachers on promoting student agency in making or selecting discipline-specific artistic works for study, performance, exhibition, or presentation.
1 out of 1 points
Unit 4, lesson 4.1 offers educator guidance on promoting student agency in making or selecting artistic works for study, exhibition, or presentation. During “Studio Exploration,” students observe close-up photographs of insects and select one as the subject for an observational drawing, supporting student choice in the art-making process. The lesson guides students to examine symmetry by imagining a line down the center of the insect and identifying corresponding shapes on each side before creating a pencil outline. Students then add color, matching the hues in the reference photographs and adding details that reflect the close-up perspective.
Rubric Section 5
Critical Evaluation and Response
Materials provide opportunities for students to interpret, evaluate, and respond to discipline-specific artistic works of self and others.
Total
100% (11 out of 11 points)
Evaluation for 5.1a
In “Guiding Response to Art,” educators examine the philosophy of developing artistic literacy through critique of other artworks. Educators apply these principles to guide children’s interpretation, analysis, and evaluation, teaching students to describe what they see, examine how it is organized, and speculate as to what the artist might be saying. Lastly, educators inform students that evaluation compares to any other logical process and moves beyond “I like it” by reviewing established criteria and citing evidence from the artwork.
Unit 5, lesson 5.5 offers educator guidance for facilitating discussions in which students interpret, evaluate, and respond to artworks by other artists in “Explore the Images.” The materials define discipline-specific vocabulary, including center of interest, color, and texture, and provide guidance for engaging students in discussions in which they identify the center of interest in an artwork using academic art vocabulary and support their interpretations.
Evaluation for 5.1b
Students engage in art criticism using a provided framework of “Describe, analyze, interpret, and evaluate” to respond to artworks using art vocabulary. In unit 1, lesson 1.3, students use academic language to describe what they observe in the image, then analyze the work by closely examining and identifying the types of lines and shapes used by the artist, applying discipline-specific vocabulary of the elements of art. Next, students interpret the visual evidence to consider possible artistic intent, including why the artist may have depicted the place and why it might be significant or appealing. Finally, students evaluate the artwork by forming a supported interpretation of the place’s significance within the composition. The cognitive demand progresses from description to analysis to interpretation, allowing students to apply prior learning from previous lessons to support their understanding and response to artworks.
The unit 2 review materials include guidance for educators to emphasize discipline-specific vocabulary when students interpret, evaluate, and respond to artistic works. The materials provide explicit instruction for teaching art vocabulary throughout the unit, including the terms shape, facial expression, action, color, form, and detail, to support students in describing what they observe. During a discussion of the image, the lesson directs the educator to guide students in describing, analyzing, interpreting, and evaluating visual elements the artist employed, such as color, symmetrical balance, interest, and shape. The educator guidance also includes a review of unit objectives, Big Ideas, art and design concepts, and performance tasks to support students in using unit vocabulary.
Evaluation for 5.1c
In unit 1, lesson 1.3, students use the criticism process—describe, analyze, interpret, and evaluate—to engage with a work of art. Students first describe what they observe in the image, then closely identify types of lines and shapes used by the artist. Next, students interpret visual evidence to consider possible artistic intent, including why the artist may have depicted the place and why someone might want to visit it. Finally, students evaluate the image and context to develop an evidence-based interpretation of the place’s significance and its importance to the artist. The process supports students in applying previously learned concepts to understand and respond to artworks. Additionally, educator guidance states that students use lesson content from 1.1 and 1.2 as the foundation of this lesson, in which they look for, describe, and create shapes.
The unit 6 final review shows the progression of skills developed through the course. Students follow the art-criticism process to evaluate a piece by Cai Guo-Qiang. In addition to line, students address color, contrast, light, dark, pattern, repetition, variety, form, and shape, showing their progression from their introduction to line in lesson 1.1. Students also engage in a “Portfolio Review, Reflection, and Presentation,” which is evaluated with the provided rubric. To achieve an “advanced/exemplary” grade in this category, students must select portfolio artwork that is appropriate to the unit’s artistic concepts and provide “insightful explanation of fit between artworks and Big Ideas.”
Evaluation for 5.2a
Unit 2, lesson 2.6 provides educator guidance to facilitate discussion by prompting students to explain what they like about their own sculptures and their classmates’ sculptures, including why they chose to represent a particular person and action. The materials also guide educators in supporting students as they write a two- or three-sentence story about their sculpture to read while presenting their work. During the “Review and Reflect” process, students discuss their sculptures, observe their classmates’ work, consider different techniques and approaches through peer and educator feedback, and share reflections about their artistic choices and experiences. Throughout these activities, educators observe student responses, listen to discussions, and provide feedback to support students’ reflection and revision of their artistic works.
Furthermore, the Teacher Edition includes a “Guiding Responses to Art” resource that provides educator inquiry-based methods to lead discussions of an artwork. It instructs educators to explain that stating personal preference such as “I like it” or “I don’t like it” is not critical evaluation. Educators state the evaluation criteria, and students give specific examples of how an artwork does or does not meet a criterion, ensuring logical, evidence-based examination. Students refer to the evaluation criteria listed for each studio when evaluating their own and each other’s artworks.
Evaluation for 5.2b
Educators use a step-by-step process to introduce peer discussion and feedback in “Portfolio Review, Reflection, and Presentation.” Students select their favorite artworks created in unit 2, which aligns with the Big Idea “Artists and designers help us see who we are and what we care about.” Students share feedback with each other on why they chose those specific pieces. Students partner for pair interviews to talk about their artwork, reflect on the choices they made while creating it, and think about what kind of art they want to make next. The educator facilitates whole-class effort to curate an exhibition based on the unit title. The review process allows the educator to watch, listen, and provide suggestions while the students reflect, learn, collaborate, and trade feedback with their peers about the pieces they made during the unit.
In unit 4, lesson 4.9, students give feedback on discipline-specific artistic works created by their peers. The guide models a step-by-step process for educators to facilitate student discussion and peer feedback within the “Reflect and Present” section. Educators prompt students to reflect on their learning by asking questions such as “What have you learned about making clay sculptures?” and “How did thinking about shapes help you form your creature?” Students observe classmates’ sculptures and respond to guided questions about how their peers constructed and displayed their work and how they achieved realistic qualities in their clay animal sculptures. During “Art Criticism,” students engage in structured conversations about artworks using specific prompts. The process guides students to discuss their sculptures, observe peer work, consider different techniques and methods through feedback, and share reflections on their own sculpture-making process. This structure supports educator facilitation of observation, listening, and feedback as students participate in peer discussion and reflection.
Evaluation for 5.2c
The “Unit 1 Planning Guide” outlines a step-by-step process for educators to observe students, facilitate discussion, and provide feedback throughout lesson 1.6, particularly during the “Reflect and Present” section. Educators prompt groups of students to display their collage work and, during presentations, ask questions such as “Which playground would you like to visit?” and “Which pictures show different sizes of lines and shapes?” to support students in identifying and comparing lines and shapes within their compositions. The lesson also supports ongoing educator feedback as students work, including guidance on completing the project, cutting shapes accurately, and applying techniques used in creating playground collages. In addition, educators use the assessment rubric during student work time to evaluate progress and provide feedback to support completion of the assignment.
Additionally, the unit 6 lesson “Dressing Up and Down Puppet: Creating with Paper” directs educators to review each student’s paper puppet and prompt students to add more colors or patterns to either side of their puppet to emphasize differences between “dressing up” and “dressing down” and to demonstrate the understanding that art can represent changes in dress. Educators provide feedback throughout the lesson to support students in completing the project, drawing their puppets accurately, and applying the techniques used in the construction and decoration of the paper puppet.
Evaluation for 5.2d
“Introducing Media and Techniques” in the Teacher Edition provides educator guidance to help students use different media and refine their artistic skills. For example, educator guidance for use of water-based felt markers suggests that students draw on damp or dry paper, then use a wet brush on top of lines, shapes, or textures to create watercolor effects.
Unit 4, lesson 4.1 provides guidance for educators to offer feedback that supports students in refining their artistic work throughout the creative process. During “Studio Time,” students closely observe photographs of insects and select one to draw, using observation skills to identify shapes, symmetry, and visual details. Educators guide students as they sketch the insect’s outline, add color based on hues observed in the photographs, and include fine details. Through discussion, critical looking, and responding activities, students identify that artists may create artworks inspired by close observation of nature and recognize formal characteristics such as symmetry. Students then apply these skills and concepts in the “Studio Exploration,” creating an insect drawing aligned with studio evaluation criteria, with educator feedback supporting revision and refinement throughout the process.
Evaluation for 5.2e
The Teacher Edition embeds self-reflection within the art-making process. During “Reflect and Revise” in unit 1, lesson 1.6, students pause to review their weather paintings and evaluate how effectively they communicated a specific weather condition and mood. They analyze their artistic decisions by responding to structured questions about horizon line placement, line choices, and color palette to determine whether their intended message is evident in their work. The curriculum’s writing guidance reinforces this approach, noting that artists regularly review and revise their work to convey its intent more effectively. These structured opportunities for self-evaluation support students in comparing their original intent with the resulting composition to guide revisions.
Additionally, during unit 3, lesson 3.3’s “Reflect and Revise,” students review their paintings in progress and consider ways to strengthen their make-believe settings, characters, and story details. Students think about how adding background elements or character details might clarify and polish the artwork. The writing process guidance extends this reflective practice by directing students to review their work, identify revisions, and recognize that artists often refine their artwork multiple times before completion. These opportunities support students in using self-evaluation to make purposeful revisions and strengthen the quality of their finished work.
5.1 Evaluating and Responding to Artistic Works
5.1a
Materials include guidance for teachers to provide explicit (direct) instruction in interpreting, evaluating, and responding to discipline-specific artistic works of other artists at the level of depth and complexity required by the course TEKS.
Materials include guidance for teachers to provide explicit (direct) instruction in interpreting, evaluating, and responding to discipline-specific artistic works of other artists at the level of depth and complexity required by the course TEKS.
1 out of 1 points
Evaluation for 5.1a
Evaluation for 5.1a
Materials include guidance for teachers to provide explicit (direct) instruction in interpreting, evaluating, and responding to discipline-specific artistic works of other artists at the level of depth and complexity required by the course TEKS.
1 out of 1 points
Unit 5, lesson 5.5 offers educator guidance for facilitating discussions in which students interpret, evaluate, and respond to artworks by other artists in “Explore the Images.” The materials define discipline-specific vocabulary, including center of interest, color, and texture, and provide guidance for engaging students in discussions in which they identify the center of interest in an artwork using academic art vocabulary and support their interpretations.
5.1b
Materials emphasize the use of discipline-specific vocabulary in interpreting, evaluating, and responding to artistic works.
Materials emphasize the use of discipline-specific vocabulary in interpreting, evaluating, and responding to artistic works.
1 out of 1 points
Evaluation for 5.1b
Evaluation for 5.1b
Materials emphasize the use of discipline-specific vocabulary in interpreting, evaluating, and responding to artistic works.
1 out of 1 points
The unit 2 review materials include guidance for educators to emphasize discipline-specific vocabulary when students interpret, evaluate, and respond to artistic works. The materials provide explicit instruction for teaching art vocabulary throughout the unit, including the terms shape, facial expression, action, color, form, and detail, to support students in describing what they observe. During a discussion of the image, the lesson directs the educator to guide students in describing, analyzing, interpreting, and evaluating visual elements the artist employed, such as color, symmetrical balance, interest, and shape. The educator guidance also includes a review of unit objectives, Big Ideas, art and design concepts, and performance tasks to support students in using unit vocabulary.
5.1c
Materials provide opportunities for students to practice interpreting, evaluating, and responding to discipline-specific artistic works of other artists through activities and tasks that progressively increase in rigor and complexity over lessons and units within the course.
Materials provide opportunities for students to practice interpreting, evaluating, and responding to discipline-specific artistic works of other artists through activities and tasks that progressively increase in rigor and complexity over lessons and units within the course.
2 out of 2 points
Evaluation for 5.1c
Evaluation for 5.1c
Materials provide opportunities for students to practice interpreting, evaluating, and responding to discipline-specific artistic works of other artists through activities and tasks that progressively increase in rigor and complexity over lessons and units within the course.
2 out of 2 points
The unit 6 final review shows the progression of skills developed through the course. Students follow the art-criticism process to evaluate a piece by Cai Guo-Qiang. In addition to line, students address color, contrast, light, dark, pattern, repetition, variety, form, and shape, showing their progression from their introduction to line in lesson 1.1. Students also engage in a “Portfolio Review, Reflection, and Presentation,” which is evaluated with the provided rubric. To achieve an “advanced/exemplary” grade in this category, students must select portfolio artwork that is appropriate to the unit’s artistic concepts and provide “insightful explanation of fit between artworks and Big Ideas.”
5.2 Giving and Receiving Feedback on Artistic Works
5.2a
Materials include guidance for teachers to provide explicit (direct) instruction in giving and receiving feedback on discipline-specific artistic works to self and other students.
Materials include guidance for teachers to provide explicit (direct) instruction in giving and receiving feedback on discipline-specific artistic works to self and other students.
2 out of 2 points
Evaluation for 5.2a
Evaluation for 5.2a
Materials include guidance for teachers to provide explicit (direct) instruction in giving and receiving feedback on discipline-specific artistic works to self and other students.
2 out of 2 points
Furthermore, the Teacher Edition includes a “Guiding Responses to Art” resource that provides educator inquiry-based methods to lead discussions of an artwork. It instructs educators to explain that stating personal preference such as “I like it” or “I don’t like it” is not critical evaluation. Educators state the evaluation criteria, and students give specific examples of how an artwork does or does not meet a criterion, ensuring logical, evidence-based examination. Students refer to the evaluation criteria listed for each studio when evaluating their own and each other’s artworks.
5.2b
Materials provide opportunities for students to give feedback on discipline-specific artistic works created by other students.
Materials provide opportunities for students to give feedback on discipline-specific artistic works created by other students.
1 out of 1 points
Evaluation for 5.2b
Evaluation for 5.2b
Materials provide opportunities for students to give feedback on discipline-specific artistic works created by other students.
1 out of 1 points
In unit 4, lesson 4.9, students give feedback on discipline-specific artistic works created by their peers. The guide models a step-by-step process for educators to facilitate student discussion and peer feedback within the “Reflect and Present” section. Educators prompt students to reflect on their learning by asking questions such as “What have you learned about making clay sculptures?” and “How did thinking about shapes help you form your creature?” Students observe classmates’ sculptures and respond to guided questions about how their peers constructed and displayed their work and how they achieved realistic qualities in their clay animal sculptures. During “Art Criticism,” students engage in structured conversations about artworks using specific prompts. The process guides students to discuss their sculptures, observe peer work, consider different techniques and methods through feedback, and share reflections on their own sculpture-making process. This structure supports educator facilitation of observation, listening, and feedback as students participate in peer discussion and reflection.
5.2c
Materials provide opportunities for students to receive feedback on their discipline-specific artistic works from teachers and other students.
Materials provide opportunities for students to receive feedback on their discipline-specific artistic works from teachers and other students.
2 out of 2 points
Evaluation for 5.2c
Evaluation for 5.2c
Materials provide opportunities for students to receive feedback on their discipline-specific artistic works from teachers and other students.
2 out of 2 points
Additionally, the unit 6 lesson “Dressing Up and Down Puppet: Creating with Paper” directs educators to review each student’s paper puppet and prompt students to add more colors or patterns to either side of their puppet to emphasize differences between “dressing up” and “dressing down” and to demonstrate the understanding that art can represent changes in dress. Educators provide feedback throughout the lesson to support students in completing the project, drawing their puppets accurately, and applying the techniques used in the construction and decoration of the paper puppet.
5.2d
Materials include guidance for teachers to provide feedback to students to refine their discipline-specific artistic works.
Materials include guidance for teachers to provide feedback to students to refine their discipline-specific artistic works.
1 out of 1 points
Evaluation for 5.2d
Evaluation for 5.2d
Materials include guidance for teachers to provide feedback to students to refine their discipline-specific artistic works.
1 out of 1 points
Unit 4, lesson 4.1 provides guidance for educators to offer feedback that supports students in refining their artistic work throughout the creative process. During “Studio Time,” students closely observe photographs of insects and select one to draw, using observation skills to identify shapes, symmetry, and visual details. Educators guide students as they sketch the insect’s outline, add color based on hues observed in the photographs, and include fine details. Through discussion, critical looking, and responding activities, students identify that artists may create artworks inspired by close observation of nature and recognize formal characteristics such as symmetry. Students then apply these skills and concepts in the “Studio Exploration,” creating an insect drawing aligned with studio evaluation criteria, with educator feedback supporting revision and refinement throughout the process.
5.2e
Materials provide opportunities for students to engage in self-reflection or self-evaluation to refine their discipline-specific artistic works.
Materials provide opportunities for students to engage in self-reflection or self-evaluation to refine their discipline-specific artistic works.
1 out of 1 points
Evaluation for 5.2e
Evaluation for 5.2e
Materials provide opportunities for students to engage in self-reflection or self-evaluation to refine their discipline-specific artistic works.
1 out of 1 points
Additionally, during unit 3, lesson 3.3’s “Reflect and Revise,” students review their paintings in progress and consider ways to strengthen their make-believe settings, characters, and story details. Students think about how adding background elements or character details might clarify and polish the artwork. The writing process guidance extends this reflective practice by directing students to review their work, identify revisions, and recognize that artists often refine their artwork multiple times before completion. These opportunities support students in using self-evaluation to make purposeful revisions and strengthen the quality of their finished work.
Rubric Section 6
Connections and Context
Materials are designed to deepen understanding of the discipline by examining the arts through cross-curricular connections and historical and cultural context.
Total
100% (5 out of 5 points)
Evaluation for 6.1a
Unit introductory sections include a table of contents page titled “Unit Cross Curricular Connections” that features connections educators can make throughout the entire unit. For example, in unit 1, STEAM science connections are available in lessons 1.3 and 1.9, and social studies connections appear in lessons 1.1, 1.4, and 1.7. Accessing this material enables educators to develop a comprehensive, cross-curricular unit plan.
Additionally, the “Social Studies” inset in unit 2, lesson 2.6 guides educators to make social studies connections.
Evaluation for 6.1b
Unit 3’s “STEAM: Focus on Math” provides opportunities for students to explore cross-curricular and cross-disciplinary connections. Students examine artwork by Gabriel Orozco to connect visual art with mathematics by identifying halves and quarters using geometric shapes. During the studio activity, students use rulers to divide shapes into equal parts and apply prior learning about mixing tints and shades with primary or secondary colors to complete their compositions, reinforcing “STEAM Connections” through the integration of mathematical reasoning, color theory, and artistic creativity.
Additionally, in unit 6, lesson 6.6, students explore cross-curricular connections as they create a “dress-up/dress-down” puppet. A “Reading Comprehension” section provides cross-curricular connections for a lesson in comparing and contrasting, and the lesson connects to science as students examine and discuss fabric varieties and learn the origins of textiles suitable for making dress-up clothes. STEAM technology connections direct students to engage with paint programs so they can “dress up” or “dress down” a digital artwork as well.
Evaluation for 6.2a
Unit 5, lesson 5.3 incorporates cross-curricular connections with social studies by guiding students to explore the history, purpose, and cultural significance of buildings, including the U.S. Capitol. Educator guidance provides questions and information to support students in connecting historical and cultural contexts to artistic choices in composition, materials, and symbolism.
Additionally, unit 6, lesson 6.6 integrates social studies connections by introducing students to traditional Indonesian wayang shadow puppets; locating Indonesia on a world map; describing the country’s archipelago geography and diverse cultural traditions; and explaining how shadow puppets are designed, decorated, and used in performances. “About the Artwork” provides further historical context.
Evaluation for 6.2b
In unit five, lesson 5.3, students explore a variety of artistic works and traditions through connections among art, history, and social studies. Educators provide explicit instruction on historical and cultural context by examining images of buildings including the U.S. Capitol and discussing their function and significance. Students analyze lines, details, symbolism, and composition in artworks while learning about the history of the buildings and the architects who designed them. The art history section provides educator guidance on connecting the artworks to historical events, cultural contexts, and artists’ choices, while questions support students in identifying how historical and cultural context appears in artworks.
In unit 3’s “STEAM: Focus on Mathematics,” students explore a variety of artistic works and traditions through observations, discussions, and hands-on activities. Students investigate how artists use geometric shapes, patterns, colors, and composition by analyzing artworks and creating paintings that demonstrate their understanding of dividing shapes from a whole. Students identify circles, triangles, and squares in an artwork, discuss how shapes are partitioned, and explore how color and shape relationships affect visual perception.
Evaluation for 6.2c
Unit 5, lesson 5.2 requires students to demonstrate understanding of relevant historical and cultural context, as they explore how postage stamps document important people, places, and events in American history and discuss how artists and designers use images to represent historical and cultural significance. Through connections between visual art and social studies, students apply their understanding of history and design by developing ideas for new stamps that commemorate meaningful subjects. This lesson includes a STEAM math focus in which students select correct coinage to purchase a single stamp.
In unit 5, lesson 5.3, students explore how artists and designers create artwork to represent important places, communities, and events, connecting visual art with history and social studies concepts. Through educator-guided discussions and art-making activities, students examine how depictions of neighborhoods and communities can document cultural and historical information, while applying their understanding to create their own artwork. These activities support cross-curricular connections among fine arts, history, and community studies.
6.1 Cross-Curricular Connections
6.1a
Materials include guidance for teachers to provide explicit (direct) instruction on cross-curricular connections within and across the fine arts disciplines and between fine arts and core academic subjects (e.g., literacy, math, social studies, science) as applicable.
Materials include guidance for teachers to provide explicit (direct) instruction on cross-curricular connections within and across the fine arts disciplines and between fine arts and core academic subjects (e.g., literacy, math, social studies, science) as applicable.
1 out of 1 points
Evaluation for 6.1a
Evaluation for 6.1a
Materials include guidance for teachers to provide explicit (direct) instruction on cross-curricular connections within and across the fine arts disciplines and between fine arts and core academic subjects (e.g., literacy, math, social studies, science) as applicable.
1 out of 1 points
Additionally, the “Social Studies” inset in unit 2, lesson 2.6 guides educators to make social studies connections.
6.1b
Materials provide opportunities for students to explore cross-curricular connections within and across the various fine art disciplines and between fine arts and core academic subjects (e.g., literacy, math, social studies, science) as applicable.
Materials provide opportunities for students to explore cross-curricular connections within and across the various fine art disciplines and between fine arts and core academic subjects (e.g., literacy, math, social studies, science) as applicable.
1 out of 1 points
Evaluation for 6.1b
Evaluation for 6.1b
Materials provide opportunities for students to explore cross-curricular connections within and across the various fine art disciplines and between fine arts and core academic subjects (e.g., literacy, math, social studies, science) as applicable.
1 out of 1 points
Additionally, in unit 6, lesson 6.6, students explore cross-curricular connections as they create a “dress-up/dress-down” puppet. A “Reading Comprehension” section provides cross-curricular connections for a lesson in comparing and contrasting, and the lesson connects to science as students examine and discuss fabric varieties and learn the origins of textiles suitable for making dress-up clothes. STEAM technology connections direct students to engage with paint programs so they can “dress up” or “dress down” a digital artwork as well.
6.2 Historical and Cultural Context
6.2a
Materials include guidance for teachers to provide explicit (direct) instruction on relevant discipline-specific historical and cultural context in alignment with the course TEKS.
Materials include guidance for teachers to provide explicit (direct) instruction on relevant discipline-specific historical and cultural context in alignment with the course TEKS.
1 out of 1 points
Evaluation for 6.2a
Evaluation for 6.2a
Materials include guidance for teachers to provide explicit (direct) instruction on relevant discipline-specific historical and cultural context in alignment with the course TEKS.
1 out of 1 points
Additionally, unit 6, lesson 6.6 integrates social studies connections by introducing students to traditional Indonesian wayang shadow puppets; locating Indonesia on a world map; describing the country’s archipelago geography and diverse cultural traditions; and explaining how shadow puppets are designed, decorated, and used in performances. “About the Artwork” provides further historical context.
6.2b
Materials provide opportunities for students to explore a variety of discipline-specific artistic works and traditions (e.g., variety of historical and contemporary artistic works, artistic traditions from diverse cultures).
Materials provide opportunities for students to explore a variety of discipline-specific artistic works and traditions (e.g., variety of historical and contemporary artistic works, artistic traditions from diverse cultures).
1 out of 1 points
Evaluation for 6.2b
Evaluation for 6.2b
Materials provide opportunities for students to explore a variety of discipline-specific artistic works and traditions (e.g., variety of historical and contemporary artistic works, artistic traditions from diverse cultures).
1 out of 1 points
In unit 3’s “STEAM: Focus on Mathematics,” students explore a variety of artistic works and traditions through observations, discussions, and hands-on activities. Students investigate how artists use geometric shapes, patterns, colors, and composition by analyzing artworks and creating paintings that demonstrate their understanding of dividing shapes from a whole. Students identify circles, triangles, and squares in an artwork, discuss how shapes are partitioned, and explore how color and shape relationships affect visual perception.
6.2c
Materials include activities and tasks that require students to demonstrate understanding of relevant discipline-specific historical and cultural context in alignment with the course TEKS.
Materials include activities and tasks that require students to demonstrate understanding of relevant discipline-specific historical and cultural context in alignment with the course TEKS.
1 out of 1 points
Evaluation for 6.2c
Evaluation for 6.2c
Materials include activities and tasks that require students to demonstrate understanding of relevant discipline-specific historical and cultural context in alignment with the course TEKS.
1 out of 1 points
In unit 5, lesson 5.3, students explore how artists and designers create artwork to represent important places, communities, and events, connecting visual art with history and social studies concepts. Through educator-guided discussions and art-making activities, students examine how depictions of neighborhoods and communities can document cultural and historical information, while applying their understanding to create their own artwork. These activities support cross-curricular connections among fine arts, history, and community studies.