Program Information
- ISBN
- 9798886951257
- 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 3 Texas Edition
Grade 3
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 3 | 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 3 materials include a scope and sequence for each unit that aligns with the TEKS and concepts taught throughout the course. The scope and sequence identifies concepts of the program, student learning objectives, and the strand of each objective, and lists where and when lessons explore concepts. For example, lesson 2.3’s “Introduce the Studio” section guides educators to have students recall that imaginary artworks can contain realistic elements too, which is in alignment with grade-level TEKS 3.2B. 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 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 2.4 identifies strands 2 and 3 student learning objectives: “Understand that artists know how to mix colors, identify primary, secondary, and intermediate colors on a color wheel and in artwork, and create a colorful painting of an imaginary place” to meet studio evaluation criteria, referred to as “Things to Remember” in the curriculum.
Evaluation for 1.1b
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, the scope and sequence for Grades 1–6 offers four suggested pacing options: a traditional school year with daily lessons, 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. Each pacing option shows which lessons, studio experiences, and assessments to complete for each unit according to the specific schedule.
Additionally, the scope and sequence offers suggested pacing for rotational schedules for individual and multiple classes per lesson that range from 30–90 minutes. Each unit provides a pacing guide with lesson topics and recommendations for the time needed to cover lessons per day or week. For example, the pacing calendar denotes lesson 4.2 as a 45-minute lesson, which can be extended by adding cross-curricular connections in science, math, and dance.
Evaluation for 1.1c
The program overview explains the overall curriculum design and instructional approach. It highlights the grounding philosophy and features of the program as well as the structure. For example, the unit order rationale states, “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 supports concept connection 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, artmaking and response, and cultural understanding, which are all introduced in each unit “Opener” as Big Ideas, essential questions, and objectives. These components provide educators with tools to support studio practices, foster inquisitive thinking, and guide students in exploring new artistic processes. Each unit supports student development throughout the program by establishing foundational skills while providing lesson descriptors and an instructional rationale.
Evaluation for 1.1d
The “Unit 1 Planning Guide” provides a framework that supports understanding of the unit’s essential theme—“Alone and Together: How Do People Share Their Lives with One Another?”—through three strands focused on individual looks and feelings, looks and feelings of people in action, and looks and feelings of people in places. 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 expression, proportion, seeing perspective, and sculpture to applying these concepts in studio projects such as self-portraits, drawing, sculpting, and paper cutting. Embedded “Research Journal” activities, “STEAM Connections,” literacy integration, and unit review components provide instructional protocols and organizational structure to support educators through unit and lesson preparation, implementation, and understanding of how individual lessons contribute to the overall unit learning goals.
The downloadable PDF lesson plans include all lesson plans from the program and provide protocols that support lesson internalization through detailed instructional guidance. For example, unit two lesson 2.6, “A Strange World for an Animal: Mixing Colors,” includes a pacing recommendation of two 45-minute periods and the essential question, “Where can our imaginations take us?” The lesson outlines clear objectives, required materials, and TEKS correlations, while the Studio Exploration section guides teachers in reinforcing the 5-step studio process and artmaking objectives. Additional supports include assessment guidance, studio evaluation criteria, quick question reviews, and opportunities for students to revisit and respond to the essential question.
Evaluation for 1.1e
The “Unit 1 Planning Guide” provides a comprehensive 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, supporting lesson planning, resource allocation, and instructional monitoring. The “Planning Guide” 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.
“Visual Literacy” in the “Reference” section of the Teacher Edition outlines teaching techniques for teaching visual literacy in the program. Other instructional supports provided 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 implementation support videos for elementary, middle school, and high school grade levels, including a general overview of the materials and a “Quick Start” guide. The website also offers videos for teaching art online and portfolio support. These resources provide instructional guidance and ensure that educators have everything necessary to deliver the program lessons and learning experiences.
Evaluation for 1.2a
“Unit Planning Guides” include the unit theme, lesson strands, lesson topics, suggested pacing, artworks, studio topics, vocabulary, materials and cross-curricular connections. Unit 1, lesson 1.7, which explores the concept of shapes, includes the vocabulary words positive and negative. Glossaries define academic language in the Teacher Edition and the Student Edition. The resource guide provides full-color art room reference sheets on various discipline-specific topics to support educator and student background knowledge, including vocabulary.
Additionally, unit overviews in each “Planning Guide” organize student exploration activities and lessons in charts featuring key concepts, artworks, studio media, vocabulary, and cross-curricular connections. Each unit introduction includes the unit theme and educator background information in the “Teach Through Inquiry” section. The “Planning Guide” supports educators by building their content knowledge to use throughout the unit, supporting instruction. For example, “About the Artist” in lesson 2.2, “Birds in Space: Imaginary Forms,” features biographical information on sculptor Alexander Calder, inventor of the mobile, whose artworks are discussed to support educators’ background knowledge of unit concepts.
Evaluation for 1.2b
“Family Tips” sheets provide support for families in English and Spanish, including student expectations for the unit, what students will learn, what they will do, vocabulary words, and 10 extension ideas that parents can use to support the progress of their student. Unit 3’s “Family Tips” sheet suggests, “Look for patterns printed on paper, clothing, and other surfaces. Think about how the images are arranged to create the patterns you see.” These editable family-facing resources extend student learning, encouraging progress.
Additionally, students and family members can use the “Enable Translation” button at the top of the Davis Digital landing page to translate page contents and course texts into several languages, including Spanish, ensuring access to all instructional tools.
Evaluation for 1.3a
Each lesson in the Teacher Edition provides comprehensive, structured, and 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 offer protocols that support lesson internalization in a structured way. The “Prepare” section of each lesson includes the daily objectives and states the materials needed for that lesson.
Lesson plans include various tasks, questions, and assessments that align with daily objectives and the TEKS. The lesson objectives and TEKS provide alignment for the questions, discussions, learning tasks, and assessments that follow. In the lesson 1.8 section “Explore the Images,” educators prompt students to compare which images appear as if they are in motion. Learning tasks in the “Create” section engage students in studio exploration of stamping images on paper repeatedly to make a print. The lesson “Close” directs educators to ask, “Why does the artist overlap these shapes: to make the overlapped image look closer, or brighter?”
Evaluation for 1.3b
Individual unit plans list required educator and student instructional materials in an organized chart, including titles and artists of artworks and media. For example, lesson 1.7 identifies student materials, including tagboard, pencils, paper, scissors, and tape, that allow students to explore and demonstrate their understanding of positive and negative space through hands-on artmaking. Additionally, the Davis Digital website houses educator tools, providing access to 20,000 high-quality art images searchable by lesson, artwork, media, or element, that educators can tag for future retrieval. Educators can create and share their own slide presentations across multiple student platforms for synchronous or asynchronous learning.
Lastly, several materials offer pacing suggestions. “Unit Planning Guides” pace on the lesson level and offer suggestions for total completion time. The scope and sequence includes pacing suggestions for specific schedules. Daily lesson plans break lesson completion time into suggested minutes for each component, ensuring that lessons are taught in their entirety within a class period.
Evaluation for 1.3c
Lesson 3.2’s “Aesthetic Awareness” sidebar extends student learning with the prompt “During this week, look for patterns printed on paper, clothing, and other surfaces. Think about how the images are arranged to create the patterns you see.” Educators remind students to use their “Research Journals” for creative expression and to record ideas, make sketches, and reflect on their artworks. These activities extend classroom learning in art skills of perceptual and critical evaluation.
Other extension opportunities support educators in cross-curricular engagement activities. Also in lesson 3.2, students can explore natural elements containing patterns, such as butterfly wings, leaf arrangements, and fur growth patterns. Students generalize about predatory habits and the need for such patterns.
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 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 2.4 identifies strands 2 and 3 student learning objectives: “Understand that artists know how to mix colors, identify primary, secondary, and intermediate colors on a color wheel and in artwork, and create a colorful painting of an imaginary place” to meet studio evaluation criteria, referred to as “Things to Remember” in the curriculum.
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
Additionally, the scope and sequence offers suggested pacing for rotational schedules for individual and multiple classes per lesson that range from 30–90 minutes. Each unit provides a pacing guide with lesson topics and recommendations for the time needed to cover lessons per day or week. For example, the pacing calendar denotes lesson 4.2 as a 45-minute lesson, which can be extended by adding cross-curricular connections in science, math, and dance.
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 supports concept connection 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, artmaking and response, and cultural understanding, which are all introduced in each unit “Opener” as Big Ideas, essential questions, and objectives. These components provide educators with tools to support studio practices, foster inquisitive thinking, and guide students in exploring new artistic processes. Each unit supports student development throughout the program by establishing foundational skills while providing lesson descriptors and an instructional rationale.
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
The downloadable PDF lesson plans include all lesson plans from the program and provide protocols that support lesson internalization through detailed instructional guidance. For example, unit two lesson 2.6, “A Strange World for an Animal: Mixing Colors,” includes a pacing recommendation of two 45-minute periods and the essential question, “Where can our imaginations take us?” The lesson outlines clear objectives, required materials, and TEKS correlations, while the Studio Exploration section guides teachers in reinforcing the 5-step studio process and artmaking objectives. Additional supports include assessment guidance, studio evaluation criteria, quick question reviews, 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
“Visual Literacy” in the “Reference” section of the Teacher Edition outlines teaching techniques for teaching visual literacy in the program. Other instructional supports provided 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 implementation support videos for elementary, middle school, and high school grade levels, including a general overview of the materials and a “Quick Start” guide. The website also offers videos for teaching art online and portfolio support. These resources provide instructional guidance and ensure that educators have everything necessary to deliver the program lessons and learning experiences.
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
Additionally, unit overviews in each “Planning Guide” organize student exploration activities and lessons in charts featuring key concepts, artworks, studio media, vocabulary, and cross-curricular connections. Each unit introduction includes the unit theme and educator background information in the “Teach Through Inquiry” section. The “Planning Guide” supports educators by building their content knowledge to use throughout the unit, supporting instruction. For example, “About the Artist” in lesson 2.2, “Birds in Space: Imaginary Forms,” features biographical information on sculptor Alexander Calder, inventor of the mobile, whose artworks are discussed to support educators’ background knowledge of unit concepts.
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, students and family members can use the “Enable Translation” button at the top of the Davis Digital landing page to translate page contents and course texts into several languages, including Spanish, ensuring 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
Lesson plans include various tasks, questions, and assessments that align with daily objectives and the TEKS. The lesson objectives and TEKS provide alignment for the questions, discussions, learning tasks, and assessments that follow. In the lesson 1.8 section “Explore the Images,” educators prompt students to compare which images appear as if they are in motion. Learning tasks in the “Create” section engage students in studio exploration of stamping images on paper repeatedly to make a print. The lesson “Close” directs educators to ask, “Why does the artist overlap these shapes: to make the overlapped image look closer, or brighter?”
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
Lastly, several materials offer pacing suggestions. “Unit Planning Guides” pace on the lesson level and offer suggestions for total completion time. The scope and sequence includes pacing suggestions for specific schedules. Daily lesson plans break lesson completion time into suggested minutes for each component, ensuring that lessons are taught in their entirety within a 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
Other extension opportunities support educators in cross-curricular engagement activities. Also in lesson 3.2, students can explore natural elements containing patterns, such as butterfly wings, leaf arrangements, and fur growth patterns. Students generalize about predatory habits and the need for such patterns.
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
Lessons contain “Teach Through Inquiry” sections that offer pre-instructional diagnostic assessments using oral questions about unit concepts. In lesson 3.2, “Stories and Patterns: Printing,” the educator asks students, “What familiar story is symbolized in this gift wrap design?” Student responses indicate which students might already be familiar with the artistic concept and which may need support through the unit.
Lesson 3.2 also contains formative options that vary by task. For example, students create repeat pattern prints in foam plates that meet studio evaluation criteria (referred to as “Things to Remember” in the materials) and are evaluated using a four-point proficiency scale. The “Assess” box provides three additional criteria to determine students’ conceptual understanding. The four-point proficiency rubric scores assessments on lesson and unit levels.
Lastly, each unit includes a post-instruction unit summative featuring various performance tasks to show mastery. Unit 1 summative assessments include a picture-matching task covering artworks learned in the unit. Students also view a portrait and write an explanation identifying which parts of the portrait helped them know what the subject is thinking. They participate in open discussion with provided sentence stems. Students also 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 unit 1 introduction presents multiple types of diagnostic, formative, and summative assessments. The “Strategies for Assessment” section of the Teacher Edition defines the types of assessments in the instructional materials and explains the intended purposes of each. Diagnostics are available as pre-assessment downloads. The materials include formative assessments used during instruction, studio evaluation criteria, and unit summatives to assess student understanding and skill development.
Additionally, “Assess” sections of downloadable lesson plans define and outline the intended purpose of art criticism questions and assessment criteria for formatives and summatives throughout the course content. 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
Each lesson’s “Assessment” section 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. The materials include student answers for factual questions.
The unit 1 summative assessment includes a performance task section that provides educator guidance to support consistent assessment. Educators encourage students to reflect on the Big Ideas explored throughout the unit and reference artworks they have studied to support their thinking in discussions. This reflection helps students make connections between unit concepts and their created artworks. The materials provide possible student responses and the correct response for any factual questions. Performance tasks are evaluated using a four-point proficiency scale.
Evaluation for 2.1d
The “Assessment” rubric provides performance descriptors that guide educator decision-making and support consistent evaluation of student learning. Throughout the course, the instructional materials include diagnostic, formative, and summative assessment opportunities aligned to the TEKS and objectives. The grade-level TEKS center on concepts such as elements of art, creative expression, cultural relevance, and critical evaluation, which support lessons in this course. All assessments in the materials text engage the student in active, hands-on skills development or oral discussion, both of which are supported by the TEKS. The materials provide the TEKS alignment for each lesson.
In unit 1, lesson 1.3, the studio evaluation criteria (“Things to Remember”) align with lesson objectives and the TEKS as a summative assessment. Through discussion, students demonstrate understanding that artists and designers notice similarities and differences in people, while critical-looking activities assess their abilities to identify facial expression and proportions in portraits. Students then create an expressive portrait that applies basic facial proportions and observational skills. The rubric guides educators’ analysis of whether the artwork includes the head, neck, and part of the shoulders, shows reasonably accurate facial proportions, and communicates the subject’s appearance and expression, which represents alignment on the TEKS correlations chart. This lesson supports the grade-level TEKS by incorporating the strands of art elements, creative expression, and critical evaluation.
Evaluation for 2.1e
Instructional assessments include matching artistic concepts with artworks; discussions; and oral responses to questions, some of which are true/false or are open-ended. Students engage in tasks requiring performance skills, written responses, vocabulary recall to question prompts, and correct vocabulary usage in classroom discussion. Students engage in personal reflection and evaluation of artwork and art critique based upon the elements of art and a provided critique protocol. Students generalize meanings of abstraction concepts of line, form, shape, and other elements.
In lesson 2.3, “Imaginary Animals: Sculpture,” students discuss shapes and textures using unit vocabulary. In the next phase, students apply terminology in comparison and analysis of original artworks. Students apply skills in creating their clay sculptures. At the highest level of complexity, students evaluate and critique artwork. The materials include the downloadable TEKS correlations chart, a detailed list of breakouts or activities by unit that serves as a comprehensive guide to assure educators of alignment with the TEKS, as all assessments engage around the strands including elements of art, creative expression, cultural relevance, and critical evaluation.
Evaluation for 2.2a
“Studio Explorations” at the end of each unit strand include an assessment rubric aligned to the lesson objectives. Additionally, the unit structure includes specific tools to assess student learning. 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 a unit assessment rubric that lists the objectives, evidence, and scoring criteria for each level.
For example, an instructional assessment supports interpretation of student learning throughout the “Invented Worlds” unit by revisiting the essential question “Where can our imaginations take us?” and the Big Ideas about artists conveying human experience. Assessment questions guide students through the lesson concepts. Students analyze, compare, and contrast two artworks by Ellen Lanyon. Students create an imaginary world using markers. Students demonstrate understanding by discussing what they learned, giving examples from lessons, their own artwork, and explaining how those examples apply. Through a portfolio review, reflection, and small-group presentation, students identify work that best represents the Big Idea, explain their choices, and share insights about line and color. Scoring with the provided rubric ensures that student performance is evaluated according to standards.
Evaluation for 2.2b
“Strategies for Assessment” advises educators to create a list of students’ names before instruction to make collecting and recording assessment results and comments easier. This same roster informs educator response to trends. Additionally, the Teacher Edition features a sidebar in each lesson that addresses differentiated instruction, which addresses performance trends on an individual level. The materials suggest responses to assist educators with ideas that meet the needs of students requiring extra help, advanced learners, emergent bilingual (EB) learners, and students with special needs.
In the Teacher Edition, the “Teach Through Inquiry” section in unit 1, lesson 1.4 provides guidance for using studio tasks to clarify concepts and reinforce learning based on student performance trends. For example, guidance asks educators to anticipate the needs of EB learners: “Write circus on the board. Then write circle. Allow students to generalize about the Latin root and explain the connection between a circle and an audience that sits around a circle to see performers.”
Evaluation for 2.2c
Educators collect anecdotal and performance assessment results to measure growth during educator–student conferences. The “Strategies for Assessment” section discusses the importance of alignment across grade levels as educators implement an “assess while you teach” philosophy, emphasizing that alignment occurs when educators ask a question that targets a daily objective. This ongoing process, combined with provided assessments, allows educators to track student progress. Additionally, educators train students to build a portfolio, which authentically depicts and tracks student growth and progress for both educator and student.
As noted, educators encourage students to participate in self-assessment and track their growth using portfolios—as well as journals, rubrics, interviews, and written assignments. The “Strategies for Assessment” section includes student self-evaluation tools and student-led activities to facilitate reflection and independent progress tracking. The “Involving Students in Assessment” component provides instructions for students to track personal journals, sketchbooks, and physical portfolios. Students create a routine of signing, dating, and critiquing 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 3.2 also contains formative options that vary by task. For example, students create repeat pattern prints in foam plates that meet studio evaluation criteria (referred to as “Things to Remember” in the materials) and are evaluated using a four-point proficiency scale. The “Assess” box provides three additional criteria to determine students’ conceptual understanding. The four-point proficiency rubric scores assessments on lesson and unit levels.
Lastly, each unit includes a post-instruction unit summative featuring various performance tasks to show mastery. Unit 1 summative assessments include a picture-matching task covering artworks learned in the unit. Students also view a portrait and write an explanation identifying which parts of the portrait helped them know what the subject is thinking. They participate in open discussion with provided sentence stems. Students also 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, “Assess” sections of downloadable lesson plans define and outline the intended purpose of art criticism questions and assessment criteria for formatives and summatives throughout the course content. 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 includes a performance task section that provides educator guidance to support consistent assessment. Educators encourage students to reflect on the Big Ideas explored throughout the unit and reference artworks they have studied to support their thinking in discussions. This reflection helps students make connections between unit concepts and their created artworks. The materials provide possible student responses and the correct response for any factual questions. Performance tasks are evaluated using a four-point proficiency scale.
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
In unit 1, lesson 1.3, the studio evaluation criteria (“Things to Remember”) align with lesson objectives and the TEKS as a summative assessment. Through discussion, students demonstrate understanding that artists and designers notice similarities and differences in people, while critical-looking activities assess their abilities to identify facial expression and proportions in portraits. Students then create an expressive portrait that applies basic facial proportions and observational skills. The rubric guides educators’ analysis of whether the artwork includes the head, neck, and part of the shoulders, shows reasonably accurate facial proportions, and communicates the subject’s appearance and expression, which represents alignment on the TEKS correlations chart. This lesson supports the grade-level TEKS by incorporating the 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
In lesson 2.3, “Imaginary Animals: Sculpture,” students discuss shapes and textures using unit vocabulary. In the next phase, students apply terminology in comparison and analysis of original artworks. Students apply skills in creating their clay sculptures. At the highest level of complexity, students evaluate and critique artwork. The materials include the downloadable TEKS correlations chart, a detailed list of breakouts or activities by unit that serves as a comprehensive guide to assure educators of alignment with the TEKS, as all assessments engage around the strands including elements of art, creative expression, cultural relevance, and critical evaluation.
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
For example, an instructional assessment supports interpretation of student learning throughout the “Invented Worlds” unit by revisiting the essential question “Where can our imaginations take us?” and the Big Ideas about artists conveying human experience. Assessment questions guide students through the lesson concepts. Students analyze, compare, and contrast two artworks by Ellen Lanyon. Students create an imaginary world using markers. Students demonstrate understanding by discussing what they learned, giving examples from lessons, their own artwork, and explaining how those examples apply. Through a portfolio review, reflection, and small-group presentation, students identify work that best represents the Big Idea, explain their choices, and share insights about line and color. Scoring with the provided rubric ensures that student performance is evaluated 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
In the Teacher Edition, the “Teach Through Inquiry” section in unit 1, lesson 1.4 provides guidance for using studio tasks to clarify concepts and reinforce learning based on student performance trends. For example, guidance asks educators to anticipate the needs of EB learners: “Write circus on the board. Then write circle. Allow students to generalize about the Latin root and explain the connection between a circle and an audience that sits around a circle to see performers.”
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
As noted, educators encourage students to participate in self-assessment and track their growth using portfolios—as well as journals, rubrics, interviews, and written assignments. The “Strategies for Assessment” section includes student self-evaluation tools and student-led activities to facilitate reflection and independent progress tracking. The “Involving Students in Assessment” component provides instructions for students to track personal journals, sketchbooks, and physical portfolios. Students create a routine of signing, dating, and critiquing 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, scaffolding, choice-based learning, and flexible grouping formats. In addition, educators use various means—such as portfolios, rubrics, performance-based tasks, self-assessments, and knowledge mapping—to ensure students have a range of opportunities to demonstrate understanding and gain proficiency.
Additionally, the “Differentiated Instruction” section in unit 3, lesson 3.4 supports mastery of TEKS-aligned objectives by providing suggestions that allow students to access concepts at varying levels. For students with physical challenges, adapted tools such as paintbrush handles thickened with bubble wrap or foam-based clay facilitate grip and control during painting activities focused on tints and shades. For Spanish-speaking students, instruction acknowledges language differences where one term, tono, may be used for tint and shade, helping clarify vocabulary while building conceptual understanding. These supports help educators engage students in artmaking and demonstrate understanding of color value concepts while allowing them to develop proficiency.
Evaluation for 3.1b
Supports embedded in the materials clarify unfamiliar vocabulary and contextual references so students can access, comprehend, and discuss art. Each unit includes a comprehensive vocabulary list and a corresponding “Family Tips” sheet that includes language of the discipline. Unit 2, lesson 2.4 embeds vocabulary to support student understanding of concepts aligned with the TEKS. The lesson introduces key terms in context, including primary colors (red, yellow, and blue), and immediately connects them to secondary colors (orange, green, and violet) through instruction on color mixing. Vocabulary support continues as students gradually move from identifying primary colors to understanding how secondary colors are created, then extending to mixing intermediate colors. Throughout the sequence, vocabulary is reinforced through visual thinking, guided explanation, and hands-on application, culminating in students applying the terms as they paint an imaginary place.
Additionally, lesson 3.6 in unit 3 embeds vocabulary to support student understanding of key concepts aligned with the TEKS. Students create a story box to represent themselves or someone important to them. Academic vocabulary is introduced and reinforced as the educator writes the word assemble on the board and defines it in grade-level terms as “to put objects together to make something.” A story box is constructed and described as “a three-dimensional artwork made from multiple joined pieces that is a container that holds objects, images, and patterns arranged to tell a narrative.” Throughout the lesson, vocabulary reinforced through explanation, modeling, and application supports conceptual connections.
Evaluation for 3.1c
Unit 2, lesson 2.5 “An Animal World: Animal Murals” provides educator guidance for differentiated instruction, enrichment, and extension activities to support students who have demonstrated proficiency in the content and skills. Advanced or visual learners benefit from viewing examples of animal murals, using printed images or internet resources to inspire planning and artistic decision-making. Extension activities further enrich learning through cross-curricular connections, such as a language arts writing task in which students create an imaginary conversation between two animals from provided examples or their own murals, reinforcing creativity, storytelling, and conceptual understanding.
Additionally, unit 3, lesson 3.3 provides students with structured opportunities for extended engagement. Educators encourage advanced learners to extend their work by adding further detail, incorporating borders, or creating an additional collage representing another musical instrument once they complete their initial task. Cross-curricular extension provides a language arts connection when students write a short, diamante-style poem about their collage, following a structured format that includes the instrument name, descriptive sound words, chosen colors, symbolic representations, and a concluding repetition of the instrument name. These experiences provide student opportunities to display their written work alongside their visual art to deepen meaning and integration across disciplines.
Evaluation for 3.1d
Lesson 3.8 materials include suggestions to support students who receive SDI. For example, educator guidance suggests that educators use clay coils or dried glue to form alphabet letters for students who are visually impaired. Students who receive visual support learn the lines and forms of letters by feeling the dried clay or glue.
Additionally, in unit 1, lesson 1.7 on positive and negative shapes, educator guidance includes accessible, hands-on learning and visual culture connections. Students explore aesthetic awareness by examining light shapes against dark backgrounds and dark shapes against light backgrounds. Differentiated instruction supports students with visual impairment through structured peer partnerships in which sighted peers assist by drawing and cutting shapes based on verbal descriptions, promoting collaborative learning and access to the task.
Evaluation for 3.2a
Unit 5, lesson 5.1 includes explicit educator prompts and modeling guidance to support instruction of how artists use line to show motion. Educators then guide students to analyze three art images and talk about what they see using discipline-specific terminology. During “Studio Time,” educators model artistic processes while students apply their new learning by selecting an animal and drawing lines in original artworks that show motion. Students also experiment with kinds of lines and practice in their journals.
Additionally, unit 5, lesson 5.3 provides educator prompts and guidance to support instruction through modeling, questioning, and visual analysis to deepen student understanding of line, texture, movement, and mood. Through guided questioning, educators encourage students to notice similarities and differences across artworks and determine how visual choices influence expression. During “Studio Exploration,” students plan their work through sketching, selecting orientation, and considering line and texture. The lesson provides additional modeling time for practicing techniques and preparing materials before students carve their clay blocks, ensuring a structured progression from observation to execution.
Evaluation for 3.2b
In unit 4, lesson 4.8, educator guidance and recommendations support effective instruction through various teaching approaches such as direct instruction, visual analysis, discussion, reflection, presenting, and collaborative studio work. The lesson introduction builds conceptual understanding by explaining how landscape architects design parks and arrange elements, connecting to the student task of designing a park or playground. Guided observation supports instruction as educators lead student discussion prompts that connect learning. During “Studio Time,” students engage in planning, sketching, and collaborative decision-making.
Next, unit 4, lesson 4.9 provides educator guidance and recommendations to support modeling, followed by clear learning expectations for creating a building-based composition that reflects a chosen feeling. Students analyze artworks through focused questioning about color, contrast, and mood, supporting interpretive thinking and visual literacy. During “Studio Exploration,” structured prompts guide artistic planning decisions such as subject choice, color selection, line use, and shape variation, as educators encourage students to experiment with materials before completing their final works. The combination of observation, discussion, and guided practice supports students in applying prior knowledge of buildings and landscapes, using artistic elements to express mood.
Evaluation for 3.2c
In unit 4, lesson 4.5, the educator introduces the concept of mosaics by explaining how artists and architects use decorative designs in buildings and artworks. As students examine the images, the educator guides observation and analysis by prompting students to identify details, compare similarities and differences among the images, and discuss the materials and techniques used to create the mosaics. Through targeted questions and facilitated conversations, the educator models how to closely examine artwork. This guided instructional approach helps students develop an understanding of mosaics and prepares them to apply these concepts in their own artistic work.
Additionally, in unit 5, lesson 5.8, students engage in whole-group collaborative instruction, with the educator leading students through shared discussion, modeling, and guided practice. Students begin in a whole-group setting by exploring and talking together about why alligators, crocodiles, and lizards share similar skin textures, building ideas through peer conversation and educator facilitation. The class then analyzes two images to compare how artists use pattern and visual texture, encouraging students to learn from each other’s observations. As the lesson transitions to independent studio work, the educator continues to support learning through ongoing dialogue, check-ins, and small-group or individual conferencing.
Evaluation for 3.3a
In unit 1, lesson 1.7, embedded differentiation supports focus on strengthening conceptual understanding and academic language development related to positive and negative shapes. For example, the educator explicitly explains that the vocabulary terms positive and negative are antonyms, helping EB students understand that the words represent opposites in meaning. This support opens opportunities for discussion about antonyms more broadly, allowing students to generate additional examples and apply them when writing and talking about art. Through this approach, the educator scaffolds language use, encourages student participation, and provides ongoing support as EB students build connections between vocabulary and visual concepts.
Additionally, unit 2, lesson 2.8 offers educator guidance on providing linguistic accommodations for various levels of language proficiency. In the “Differentiated Instruction” section, the educator encourages a discussion by asking either/or questions to help students learn new words. For example, the educator asks questions such as “Is red a warm color or a cool color?” and “Is Pablo’s shirt a dark color or a light color?” Students answer and take turns asking questions, which supports language and skills acquisition by providing sentence stems and repeating questions to a peer for practice.
Evaluation for 3.3b
The materials include educator guidance, cross-disciplinary connections, Spanish glossaries, and a website that enables translation of all student texts into several languages. The “Differentiated Instruction” section presents adapted language-development strategies to reduce learning barriers while encouraging vocabulary growth in art concepts. The EB support guides educators in clarifying specific terms. The combination of constructed visuals, tasks, and focused vocabulary supports educators to ensure effective instruction in EB classrooms.
For example, unit 3, lesson 3.2 supports educators by providing students with opportunities to develop academic and discipline-specific vocabulary, increase comprehension, build background knowledge, and make cross-linguistic connections. The “Teach Through Inquiry” section guides students in discussing how artists use patterns to tell stories, enabling them to identify, describe, and use patterns when creating their own designs. The “Differentiated Instruction” section supports language development by encouraging students to use vocabulary to describe various types of fabrics and recognize words that have similar meanings in English and Spanish. These embedded supports help EB students strengthen understanding of patterns and design while making meaningful connections between visual concepts and language.
Evaluation for 3.3c
In the “Differentiated Instruction” section of unit 3, lesson 3.3, the educator explicitly introduces and models vocabulary related to musical instruments and their parts, such as mouthpiece, tuning pegs, reed, bridge, fret, and strings, while visually referencing corresponding images. This instruction provides students with opportunities to create a pictorial glossary of unfamiliar terms by drawing instruments and accurately labeling their parts in their sketchbooks.
Additionally, the unit 5, lesson 5.5 materials include embedded guidance to support EB students in developing academic and discipline-specific vocabulary, strengthening comprehension, and making cross-linguistic connections. In the “Differentiated Instruction” section, educators explain that many English words have multiple meanings depending on context. For example, while in art, value refers to the degree of lightness and darkness in colors, the term has different meanings in other contexts. This instructional approach helps students understand how words can share related meanings yet function differently depending on how they are used in a sentence and within specific disciplines.
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, the “Differentiated Instruction” section in unit 3, lesson 3.4 supports mastery of TEKS-aligned objectives by providing suggestions that allow students to access concepts at varying levels. For students with physical challenges, adapted tools such as paintbrush handles thickened with bubble wrap or foam-based clay facilitate grip and control during painting activities focused on tints and shades. For Spanish-speaking students, instruction acknowledges language differences where one term, tono, may be used for tint and shade, helping clarify vocabulary while building conceptual understanding. These supports help educators engage students in artmaking and demonstrate understanding of color value concepts while allowing them to develop proficiency.
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, lesson 3.6 in unit 3 embeds vocabulary to support student understanding of key concepts aligned with the TEKS. Students create a story box to represent themselves or someone important to them. Academic vocabulary is introduced and reinforced as the educator writes the word assemble on the board and defines it in grade-level terms as “to put objects together to make something.” A story box is constructed and described as “a three-dimensional artwork made from multiple joined pieces that is a container that holds objects, images, and patterns arranged to tell a narrative.” Throughout the lesson, vocabulary reinforced through explanation, modeling, and application supports conceptual connections.
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
Additionally, unit 3, lesson 3.3 provides students with structured opportunities for extended engagement. Educators encourage advanced learners to extend their work by adding further detail, incorporating borders, or creating an additional collage representing another musical instrument once they complete their initial task. Cross-curricular extension provides a language arts connection when students write a short, diamante-style poem about their collage, following a structured format that includes the instrument name, descriptive sound words, chosen colors, symbolic representations, and a concluding repetition of the instrument name. These experiences provide student opportunities to display their written work alongside their visual art to deepen meaning and integration across disciplines.
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, in unit 1, lesson 1.7 on positive and negative shapes, educator guidance includes accessible, hands-on learning and visual culture connections. Students explore aesthetic awareness by examining light shapes against dark backgrounds and dark shapes against light backgrounds. Differentiated instruction supports students with visual impairment through structured peer partnerships in which sighted peers assist by drawing and cutting shapes based on verbal descriptions, promoting collaborative learning and access to the task.
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, unit 5, lesson 5.3 provides educator prompts and guidance to support instruction through modeling, questioning, and visual analysis to deepen student understanding of line, texture, movement, and mood. Through guided questioning, educators encourage students to notice similarities and differences across artworks and determine how visual choices influence expression. During “Studio Exploration,” students plan their work through sketching, selecting orientation, and considering line and texture. The lesson provides additional modeling time for practicing techniques and preparing materials before students carve their clay blocks, ensuring a structured progression from observation to execution.
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
Next, unit 4, lesson 4.9 provides educator guidance and recommendations to support modeling, followed by clear learning expectations for creating a building-based composition that reflects a chosen feeling. Students analyze artworks through focused questioning about color, contrast, and mood, supporting interpretive thinking and visual literacy. During “Studio Exploration,” structured prompts guide artistic planning decisions such as subject choice, color selection, line use, and shape variation, as educators encourage students to experiment with materials before completing their final works. The combination of observation, discussion, and guided practice supports students in applying prior knowledge of buildings and landscapes, using artistic elements to express mood.
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 5.8, students engage in whole-group collaborative instruction, with the educator leading students through shared discussion, modeling, and guided practice. Students begin in a whole-group setting by exploring and talking together about why alligators, crocodiles, and lizards share similar skin textures, building ideas through peer conversation and educator facilitation. The class then analyzes two images to compare how artists use pattern and visual texture, encouraging students to learn from each other’s observations. As the lesson transitions to independent studio work, the educator continues to support learning through ongoing dialogue, check-ins, and small-group or individual conferencing.
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, unit 2, lesson 2.8 offers educator guidance on providing linguistic accommodations for various levels of language proficiency. In the “Differentiated Instruction” section, the educator encourages a discussion by asking either/or questions to help students learn new words. For example, the educator asks questions such as “Is red a warm color or a cool color?” and “Is Pablo’s shirt a dark color or a light color?” Students answer and take turns asking questions, which supports language and skills acquisition by providing sentence stems and repeating questions to a peer for practice.
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
For example, unit 3, lesson 3.2 supports educators by providing students with opportunities to develop academic and discipline-specific vocabulary, increase comprehension, build background knowledge, and make cross-linguistic connections. The “Teach Through Inquiry” section guides students in discussing how artists use patterns to tell stories, enabling them to identify, describe, and use patterns when creating their own designs. The “Differentiated Instruction” section supports language development by encouraging students to use vocabulary to describe various types of fabrics and recognize words that have similar meanings in English and Spanish. These embedded supports help EB students strengthen understanding of patterns and design while making meaningful connections between visual concepts and language.
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, the unit 5, lesson 5.5 materials include embedded guidance to support EB students in developing academic and discipline-specific vocabulary, strengthening comprehension, and making cross-linguistic connections. In the “Differentiated Instruction” section, educators explain that many English words have multiple meanings depending on context. For example, while in art, value refers to the degree of lightness and darkness in colors, the term has different meanings in other contexts. This instructional approach helps students understand how words can share related meanings yet function differently depending on how they are used in a sentence and within specific disciplines.
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
Unit 1, lesson 1.4 includes educator guidance to provide direct instruction in artistic literacy when introducing a new concept. The “Teach Through Inquiry” section includes instructions to facilitate student discussion about drawing people, paying attention to proportion. Educators prompt students to identify proportions within poses. Guidance identifies specific artworks for instruction and provides language prompts for educator modeling and questioning, such as asking students to describe what the figures in a particular image are doing. The lesson includes a “Studio Time” in which students model poses from the artwork and analyze proportions in images. Additional components include checks for understanding, artwork examples for guided and independent practice, and an educator checklist or evaluation criteria for observing and assessing student work. These materials provide explicit instruction in discipline-specific artistic literacy in alignment with the TEKS.
Additionally, unit 2, lesson 2.9 guides educators to provide direct instruction when introducing an artistic literacy concept. In the “Teach Through Inquiry” section, students discuss how the vocabulary word pattern is used in artworks. The materials direct educators to identify specific artworks to support explanation and modeling using language prompts such as “Focus on images B–D. What pattern does each picture show?” to support student identification of patterns. The lesson includes “Studio Exploration” in which educators highlight regular and random patterns in classroom objects and magazine images, ask questions to check for understanding, model processes, and direct students in creating sketches of patterns through guided and independent practice. The materials include evaluation criteria for educators to use when providing student work feedback during observation and review.
Evaluation for 4.1b
Unit 3, lesson 3.3’s “Teach Through Inquiry” section guides educators to support students in building on prior knowledge from earlier lessons about creating symbols and patterns to develop a collage demonstrating visual rhythm. Students review the prior concept of symbols and apply it to create a collage representing a musical instrument and the sounds it produces. Students use shapes, colors, symbols, and patterns to communicate ideas visually, then exhibit their completed artworks.
Unit 4, lesson 4.3’s lesson plan provides guidance for educators and activities for students to recall prior learning related to selecting a scene, creating a building facade, and using color concepts from unit 2. In the “Introduce the Studio” section, the educator engages students in considering changes in light and color related to time of day and season and how artists use subject matter, color, and line to represent seasonal conditions and convey mood. Students review concepts of color combinations and apply this knowledge when selecting colors for an architectural drawing. These activities support students in making connections among architectural structures, seasonal context, and artistic choices in subject matter, line, and color.
Evaluation for 4.1c
In the “Engage” and “Explore the Images” sections of unit 3, lesson 3.7, the educator introduces vocabulary, definitions, and explanations related to graphic design. Students explore and discuss images, describing letters, words, colors, and identifying the center of interest. The lesson guides the educator to model concepts and for students to review graphic design and center of interest. Students demonstrate understanding by creating a poster that contains a center of interest. Educators introduce vocabulary through direct instruction using word-to-definition strategies to support conceptual understanding. Students extend this understanding by identifying and analyzing letters, words, and colors in various graphic design examples. The lesson concludes with educator questioning that connects concepts to the vocabulary throughout the lesson.
Additionally, in unit 4, lesson 4.9, students use discipline-specific vocabulary as the educator introduces definitions of elements of art during instruction. Students practice identifying elements of art while exploring and creating images. The “Introduce the Studio” and “Explore the Image” sections prompt students to engage in discussion using the vocabulary word mood and the elements of art such as line, shape, and color. Students apply this vocabulary as they create a mood-inspired building, reflecting on and revising their work in progress. Students use discipline-specific vocabulary to identify, interpret, and analyze artworks and revisit vocabulary introduced in the lesson.
Evaluation for 4.1d
Unit 1, lesson 1.9 includes activities and tasks that require students to demonstrate understanding of discipline-specific artistic literacy in alignment with the course TEKS. Educators review lesson 1.7 “about positive and negative shapes and what [students] learned in lesson 1.8 about stencil printing.” Then students engage in peer discussions about artworks through educator-guided questions, analyzing the works using academic vocabulary to explain artistic concepts. In “Studio Exploration,” the educator models the process of creating a collage, demonstrating how to cut and overlap shapes. Students plan, then cut shapes of different sizes, arranging and overlapping them to create a collage. The lesson plan includes opportunities for students to create, reflect, and review concepts of collage.
Unit 5 review activities and tasks require students to demonstrate understanding of discipline-specific artistic literacy in alignment with the course TEKS by discussing art vocabulary and concepts, responding to demonstrations, and strategizing with peers while engaging with and exploring provided artworks. The unit performance tasks are designed to demonstrate student understanding of lesson concepts. For example, the unit summative includes an activity in which students examine an image and write about what the subject’s experience may have been, using learned vocabulary. Students complete a portfolio review, reflection, and presentation to showcase their artworks, arranging their works from least to greatest preference, selecting a favorite artwork, and explaining their choices using discipline-specific vocabulary.
Evaluation for 4.2a
Unit 3, lesson 3.4 includes educator guidance to provide explicit instruction in discipline-specific artistic skills at developmentally appropriate levels and in alignment with the course TEKS. The lesson introduces new artistic concepts through direct instruction on tints and shades, including definitions, sequenced modeling, and educator prompts. For example, the lesson guides educators to explain how artists tell stories about themselves through people, objects, and settings in artwork before students create a painting that communicates a personal experience. The materials provide facilitation guidance for students to explore images, identify and apply tints and shades, and explain how these techniques can create mood and feeling in artworks following educator demonstration. The lesson includes assessment criteria and a checklist to support student work evaluation and provide feedback on targeted artistic skills and concepts.
Unit 6, lesson 6.3 on cardboard-loom weaving similarly guides educators to provide developmentally appropriate, direct instruction in alignment with the course TEKS. Guidance includes structured discussions, sequenced modeling during “Studio Exploration,” and prompts to introduce key concepts, such as explaining that various communities have weaving traditions that can differ in materials, techniques, and patterns. The lesson directs educators to guide students through examining images, creating woven artworks, reflecting on and revising their work, and presenting completed weavings following educator demonstrations. A supplied rubric identifies criteria for evaluating student work and providing feedback.
Evaluation for 4.2b
Unit 5 structures lessons into strands that include two introductory lessons and a “Studio Exploration” component designed to reinforce prior learning while introducing new skills. Students review previously taught concepts such as shading, detail, color, size, and value in relation to new content focused on watercolor techniques and themes related to forces of nature. Instruction includes educator modeling and structured discussion of visual references such as scrolls, including how they are made and viewed. “Introduce the Studio” and “Studio Exploration” components support students in applying prior knowledge to new artistic processes and connecting earlier and current artistic learning as they construct and paint their scrolls.
Additionally, unit 5, lesson 5.8 materials explicitly connect new discipline-specific artistic skills to prior learning across lessons and units. Students make connections to prior learning by reviewing unit 2 concepts related to invented worlds, laying the foundation for new learning about invented textures. Question prompts guide students to identify and explain connections between previous and new learning. The lesson directs the educator to model how students apply these skills at a higher level by creating an invented animal with expressive features and recognizing how artists use different textures to convey detail. Educators challenge students to reflect on how earlier lessons support their use of detail, expression, and varied poses in their artworks.
Evaluation for 4.2c
Unit 1, lesson 1.3 offers opportunities for students to develop discipline-specific artistic skills through performing, exhibiting, and presenting artistic works at developmentally appropriate levels in alignment with the course TEKS. Students use visual references, guided demonstrations, and drawing tools to learn foundational skills for using facial expression and mood to create an expressive portrait. They then share and discuss their artworks with peers, identifying and explaining elements of their work, such as what they included, and what they might revise or add, such as an artist statement. The materials include the “Art Criticism” protocol to support how students structure their comments about artworks.
In the unit 3 review, students develop discipline-specific artistic skills through exhibiting and presenting artistic works in alignment with the course TEKS. Students use visual references, guided demonstrations, and drawing tools to examine artworks completed throughout the unit. In the “Portfolio Review, Reflection, and Presentation” section, they choose artworks, explain their selections, and discuss next steps or ideas with peers. Students share selected pieces and describe the content and process of their work during pair interviews. Students collaborate in small groups to curate an exhibition titled “Stories in Our Lives,” choosing artworks and determining how they will be displayed.
Evaluation for 4.2d
Unit 3, lesson 3.5 provides a sequence of scaffolded activities that increase in rigor and complexity. Students begin by observing relief sculptures depicting historical events, identifying and describing the technical features of relief sculpture. Students progress to completing thumbnail sketches, using those sketches to plan and create a relief sculpture that tells a story. Students carve and model clay, and may use additional materials to create their reliefs. The materials provide opportunities for students to reexamine and refine their projects throughout their development.
In unit 6, lesson 6.9, “Containers That Communicate: Decoration,” students refine their artistic skills through activities and tasks that increase in rigor and complexity. A sequence of scaffolded activities in the “Studio Exploration” supports students in refining drawing skills. Across the studio process, students observe objects, identifying and describing features that contribute to function, decoration, and symbolic meaning. Instruction progresses to thumbnail sketching, during which students design a decorative container with a defined purpose to develop accuracy in their work.
Evaluation for 4.2e
Unit 2, lesson 2.6 materials include activities and tasks that require students to demonstrate mastery of artistic skills through performing, exhibiting, or presenting artistic works at developmentally appropriate levels. In “Studio Exploration,” students conclude the color-mixing lesson by exhibiting their final products and identifying how artists combine familiar and unfamiliar elements to create new meanings. Students explain how they created scenes with new and familiar components, and describe their use of color in their artworks. Students orally explain their imagined worlds in detail, including how they used color, overlap, and foreground in their compositions.
Unit 5 review activities and tasks require students to demonstrate mastery in artistic skills through exhibiting and presenting artistic works created throughout the unit. In the “Portfolio Review, Reflection, and Presentation” section, students assemble a portfolio of artworks produced during the unit. Students select works for inclusion based on the unit’s Big Idea; collaborate with a partner to discuss their artworks; and identify preferred works, methods used, and ideas for future revisions or recreations. Students choose one artwork to exhibit in a culminating gallery-style presentation, during which they reflect on their art-making experiences.
Evaluation for 4.3a
In unit 4, lesson 4.7, students create a model of a castle, engaging with media such as drawing, painting, clay, printmaking, collage, fiber art, and papier-mâché, and techniques including design, construction, and assemblage. Students use a variety of materials, including paper tubes and small boxes, to build their castle models. The unit 4 materials reference prior lessons in which students explored shapes in buildings, architectural styles, and mosaics, and constructed a caryatid to support learning in this lesson. Educator guidance describes techniques and artistic possibilities associated with different media used throughout the lesson.
Unit 5, lesson 5.3 offers opportunities for students to explore a variety of discipline-specific art forms as they apply previously learned techniques related to lines, movement, and texture; learn how to create a print representing a nature-based creature using a clay block; and learn how to properly title, sign, and number prints. Educator guidance describes techniques and characteristics of various media introduced in previous lessons to support comparison of artistic processes across art forms.
Evaluation for 4.3b
In unit 1, lesson 1.9, students explore how artists show groups of people in different spaces and apply these ideas in their own collages. Students revisit prior learning about portraits, crowds, positive and negative shapes, and stencil printing, and are introduced to collage as an arrangement of cut shapes. Through guided observation of artworks, students analyze how artists represent groups of people in various environments, compare similarities and differences, and identify repeated colors and shapes. Students apply this learning by planning and creating a collage of people by selecting a setting, actions, colors, shapes, and sketching ideas before cutting and assembling materials to communicate a visual narrative. Students add their collages to their portfolios and, in the unit 1 summative, identify their favorite artworks from the unit, discuss their selections with a peer, and curate a unit exhibition of their selected pieces.
In the Teacher Edition sidebars of “Portfolio Review, Reflection, and Presentation,” “Allow Time for Children to Share” notes how the curriculum approach invites and encourages students to share artworks, stating: “Listen to what children say about their work and invite them to talk about how they began or the story their work tells.” Further, educator guidance states that engaging in the presentation of 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. The “Document” and “Display” sections provide the philosophical rationale of 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 2’s lesson 2.7, “Studio Time,” students examine various shapes, experiment with line variation by adjusting marker angle and pressure, and explore how different media create visual effects, such as using chalk to produce softer or blurred edges. These experiences prepare students for “Studio Exploration,” in which they independently select and apply media and techniques to create and refine an original imaginative artwork for presentation.
Additionally, in unit 3, lesson 3.6, “Story Boxes: Assemblage,” students sketch possible arrangements in their sketchbooks and experiment with different compositions inside the box and lid before finalizing their designs. These activities promote student agency in making personal artistic decisions and organizing their artwork for presentation.
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 2.9 guides educators to provide direct instruction when introducing an artistic literacy concept. In the “Teach Through Inquiry” section, students discuss how the vocabulary word pattern is used in artworks. The materials direct educators to identify specific artworks to support explanation and modeling using language prompts such as “Focus on images B–D. What pattern does each picture show?” to support student identification of patterns. The lesson includes “Studio Exploration” in which educators highlight regular and random patterns in classroom objects and magazine images, ask questions to check for understanding, model processes, and direct students in creating sketches of patterns through guided and independent practice. The materials include evaluation criteria for educators to use when providing student work feedback during observation and review.
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 4, lesson 4.3’s lesson plan provides guidance for educators and activities for students to recall prior learning related to selecting a scene, creating a building facade, and using color concepts from unit 2. In the “Introduce the Studio” section, the educator engages students in considering changes in light and color related to time of day and season and how artists use subject matter, color, and line to represent seasonal conditions and convey mood. Students review concepts of color combinations and apply this knowledge when selecting colors for an architectural drawing. These activities support students in making connections among architectural structures, seasonal context, and artistic choices in subject matter, line, and color.
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 4, lesson 4.9, students use discipline-specific vocabulary as the educator introduces definitions of elements of art during instruction. Students practice identifying elements of art while exploring and creating images. The “Introduce the Studio” and “Explore the Image” sections prompt students to engage in discussion using the vocabulary word mood and the elements of art such as line, shape, and color. Students apply this vocabulary as they create a mood-inspired building, reflecting on and revising their work in progress. Students use discipline-specific vocabulary to identify, interpret, and analyze artworks and revisit vocabulary introduced in the lesson.
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
Unit 5 review activities and tasks require students to demonstrate understanding of discipline-specific artistic literacy in alignment with the course TEKS by discussing art vocabulary and concepts, responding to demonstrations, and strategizing with peers while engaging with and exploring provided artworks. The unit performance tasks are designed to demonstrate student understanding of lesson concepts. For example, the unit summative includes an activity in which students examine an image and write about what the subject’s experience may have been, using learned vocabulary. Students complete a portfolio review, reflection, and presentation to showcase their artworks, arranging their works from least to greatest preference, selecting a favorite artwork, and explaining their choices using discipline-specific vocabulary.
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
Unit 6, lesson 6.3 on cardboard-loom weaving similarly guides educators to provide developmentally appropriate, direct instruction in alignment with the course TEKS. Guidance includes structured discussions, sequenced modeling during “Studio Exploration,” and prompts to introduce key concepts, such as explaining that various communities have weaving traditions that can differ in materials, techniques, and patterns. The lesson directs educators to guide students through examining images, creating woven artworks, reflecting on and revising their work, and presenting completed weavings following educator demonstrations. A supplied rubric identifies criteria for evaluating student work and providing feedback.
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, unit 5, lesson 5.8 materials explicitly connect new discipline-specific artistic skills to prior learning across lessons and units. Students make connections to prior learning by reviewing unit 2 concepts related to invented worlds, laying the foundation for new learning about invented textures. Question prompts guide students to identify and explain connections between previous and new learning. The lesson directs the educator to model how students apply these skills at a higher level by creating an invented animal with expressive features and recognizing how artists use different textures to convey detail. Educators challenge students to reflect on how earlier lessons support their use of detail, expression, and varied poses in their artworks.
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
In the unit 3 review, students develop discipline-specific artistic skills through exhibiting and presenting artistic works in alignment with the course TEKS. Students use visual references, guided demonstrations, and drawing tools to examine artworks completed throughout the unit. In the “Portfolio Review, Reflection, and Presentation” section, they choose artworks, explain their selections, and discuss next steps or ideas with peers. Students share selected pieces and describe the content and process of their work during pair interviews. Students collaborate in small groups to curate an exhibition titled “Stories in Our Lives,” choosing artworks and determining how they will be displayed.
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
In unit 6, lesson 6.9, “Containers That Communicate: Decoration,” students refine their artistic skills through activities and tasks that increase in rigor and complexity. A sequence of scaffolded activities in the “Studio Exploration” supports students in refining drawing skills. Across the studio process, students observe objects, identifying and describing features that contribute to function, decoration, and symbolic meaning. Instruction progresses to thumbnail sketching, during which students design a decorative container with a defined purpose to develop accuracy in their work.
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
Unit 5 review activities and tasks require students to demonstrate mastery in artistic skills through exhibiting and presenting artistic works created throughout the unit. In the “Portfolio Review, Reflection, and Presentation” section, students assemble a portfolio of artworks produced during the unit. Students select works for inclusion based on the unit’s Big Idea; collaborate with a partner to discuss their artworks; and identify preferred works, methods used, and ideas for future revisions or recreations. Students choose one artwork to exhibit in a culminating gallery-style presentation, during which they reflect on their art-making experiences.
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
Unit 5, lesson 5.3 offers opportunities for students to explore a variety of discipline-specific art forms as they apply previously learned techniques related to lines, movement, and texture; learn how to create a print representing a nature-based creature using a clay block; and learn how to properly title, sign, and number prints. Educator guidance describes techniques and characteristics of various media introduced in previous lessons to support comparison of artistic processes across art forms.
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
In the Teacher Edition sidebars of “Portfolio Review, Reflection, and Presentation,” “Allow Time for Children to Share” notes how the curriculum approach invites and encourages students to share artworks, stating: “Listen to what children say about their work and invite them to talk about how they began or the story their work tells.” Further, educator guidance states that engaging in the presentation of 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. The “Document” and “Display” sections provide the philosophical rationale of 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
Additionally, in unit 3, lesson 3.6, “Story Boxes: Assemblage,” students sketch possible arrangements in their sketchbooks and experiment with different compositions inside the box and lid before finalizing their designs. These activities promote student agency in making personal artistic decisions and organizing their artwork for presentation.
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
Educators use the “Guiding Response to Art” resource in the Teacher Edition to examine the philosophy of developing artistic literacy through critique of other artworks and apply these principles to guide children’s interpretation, analysis, and evaluation. The method includes instruction to teach students to describe what they see, examine how the work is organized, and determine 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 1, lesson 1.8 guides educators to provide explicit instruction in interpreting, evaluating, and responding to discipline-specific artistic works in alignment with the course TEKS. The lesson introduces and defines discipline-specific vocabulary, including visual rhythm, shapes, overlap, pattern, and stencil, and provides a sequenced process. The materials guide educators in facilitating evidence-based discussions about how artists create movement through visual rhythm, using academic art vocabulary and critique activities that require students to support their interpretations and evaluations with observations from the artwork.
Evaluation for 5.1b
Unit 5, lesson 5.2 “Nature’s Creatures: Texture and Value” provides explicit instruction for teaching art vocabulary, including definitions of the elements of texture and value, as well as the technique of monoprint. During artwork discussion and image analysis, the educator models correct use of these terms while helping students identify artworks representing value and texture. Students describe and evaluate visual examples by considering what the images show and how artists use visual cues, such as light and dark colors and particular marks, to represent qualities such as the softness or roughness of a cat’s fur.
The unit 5 review materials emphasize the development of art vocabulary to support students in looking at and discussing artwork during analysis. The guide provides notes throughout unit 5 that introduce and reinforce specific art terms. During discussion activities, educators direct students to examine an image and guide them through describing, analyzing, interpreting, and evaluating what they observe. The unit review also revisits objectives, art concepts, and projects to support students in applying newly acquired vocabulary when responding to artwork. Lastly, the materials explicitly connect this vocabulary to prior learning, upcoming units, and future grade levels to support the continuous development of art literacy.
Evaluation for 5.1c
In unit 4, lesson 4.9, students interpret, evaluate, and respond to discipline-specific artistic works by other artists through structured activities across lessons and units with increasing rigor. Students use the four-step “describe, analyze, interpret, and evaluate” criticism protocol to examine a selected work of art, describing what they observe in the image, analyzing how the artist arranges visual elements within self-portraits, and interpreting the visual evidence to consider artistic intent and what the self-portraits communicate about the subjects. Finally, students evaluate the artwork and its context to develop an evidence-based critique of how effectively the artists express intended ideas or themes. This sequence allows students to apply learning from previous lessons 4.7, in which they explored how architectural structure includes a variety of forms, and 4.8, which promotes understanding of forms in landscape architecture. This content increased in rigor over lesson 1.1, in which students created a self-portrait depicting items they care about.
The unit 6 final review shows the progression of skills developed through the course. The art criticism process repeats as it occurs throughout—describe, analyze, interpret, and evaluate—as students critique a work by Anni Albers. Unit concepts include weaving, fiber arts, fabric design, fan making, paper traditions, form, function, pottery, papier-mâché, and decoration, which are more complex than unit 1 concepts of portrait, expression, pose, proportion, space, perspective, sculpture, and positive and negative shapes. Students also engage in a “Portfolio Review, Reflection, and Presentation,” which is evaluated with the provided rubric. To achieve a level 4 in this category, students must select 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 2.3 models a step-by-step process for introducing imaginary animal sculptures and includes structured opportunities for reflection and presentation after students complete their work by displaying the sculptures in a “Zany Zoo.” Students explain how they developed their creatures, describing the techniques and tools they used to make their sculptures while classmates observe and respond. The process guides students to discuss their sculptures, observe the work of others, consider different techniques and methods through feedback, and reflect on their artistic experiences. During this process, educators observe students, listen to their discussions, provide feedback as needed, and prompt students to identify and discuss the different types of lines and forms incorporated into their own sculptures and those of their classmates.
“Guiding Responses to Art” in the Teacher Edition provides educator inquiry-based methods to lead discussions of an artwork. It instructs educators to explain that personal preference statements such as “I like it” or “I don’t like it” do not constitute critical evaluation. Educators state that students should apply the criteria and give specific examples of how the artwork does or does not meet the criteria to ensure a logical, evidence-based examination. Students refer to the evaluation criteria listed for each studio when evaluating their own and other artworks.
Evaluation for 5.2b
“Portfolio Review, Reflection and Presentation” offers a step-by-step process for educators to introduce peer discussion and feedback. Students select their favorite unit 2 artworks that align with the Big Idea. Students share why they chose those specific pieces; partner for interviews discussing their artworks; reflect on the choices they made while creating them; and consider 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 as students reflect, learn, collaborate, and exchange feedback.
Similarly, in unit 4, lesson 4.3, students exchange peer feedback on their artistic works. The guide models a step-by-step process for educators to facilitate student discussion and peer feedback with a mid-lesson “Reflect and Revise” process. Students reflect on their work in progress and discuss completed artworks, displaying their architectural structures and describing how different color combinations were used to create mood. Students observe classmates’ structures, provide feedback, and identify similarities and differences in approaches to color use and design choices. In “Art Criticism,” students engage in structured discussions guided by specific questions related to images, allowing them to share observations and respond to multiple perspectives while analyzing artwork. The “Reflect, Revise, and Present” end-of-unit process guides students to discuss their structures, observe peer work, explore techniques and methods through feedback, and reflect on their experiences during the creation of architectural structures. “Art Criticism” also supports educator discussion facilitation by providing opportunities to observe student responses, listen to peer dialogue, and guide feedback exchange as students reflect, collaborate, and respond to each other’s work.
Evaluation for 5.2c
The unit 4, lesson 4.6 materials provide educator feedback guidance to support students in refining their artistic works. Educators observe, review, and provide feedback on students’ carved clay sculptures. Educator feedback includes reminding students to begin with a thick cylinder of clay to ensure the structure is sturdy enough to stand independently after carving. As students reflect on and revise their works in progress, the educator prompts them to use the evaluation criteria questions to support self-assessment. The educator suggests adding details such as hair textures or lip lines to further develop the standing figures.
Additionally, unit 5, lesson 5.3 offers opportunities for students to receive educator feedback on their artistic works. The lesson models a step-by-step process for observing student work, facilitating discussion, and providing feedback in “Reflect and Present.” Educators prompt students to identify which parts of their prints are most successful, how they conveyed expression, and how they used shapes, textures, and techniques. The educator facilitates a class discussion in which students present their prints, identify each creature, and describe how lines are used to create texture and pattern. The educator provides feedback throughout the lesson to support students in applying printmaking techniques and developing their small creature compositions. While students are working, the educator uses the assessment rubric to evaluate student progress and provide targeted feedback aligned with the lesson objectives.
Evaluation for 5.2d
Unit 2, lesson 2.1 provides educator guidance for giving feedback as students refine their artistic works. At the beginning of “Studio Time,” the educator refers to the paintings of Joan Miró, noting that “Miró sometimes creates shapes by filling in with color the spaces he makes by crossing lines over one another,” supporting students in considering the artist’s process and technique. The guidance further directs educators to provide specific instructional feedback during studio work, such as suggesting that if students want to vary the thickness of their lines, they can hold markers at different angles and adjust pressure while drawing. Educators observe student work throughout the activity and provide feedback related to technique and process as students create their imaginary birds, supporting refinement throughout the process.
Additionally, the Teacher Edition includes the “Introducing Media and Techniques” page, which provides guidance to help students use different media and refine their artistic skills. A tip for water-based felt marker use suggests drawing on damp paper or using a wet brush on top of drawn lines, shapes, or textures to create watercolor effects.
Evaluation for 5.2e
Unit 1, lesson 1.6 includes student reflection opportunities to refine their artistic works. Educator guidance embeds self-reflection throughout the art-making process, explicitly connecting revision in visual art to revision in writing. Educators explain that as writers revise their first drafts, artists can revise and improve their works throughout development. Students reflect on works in progress independently or with a partner using guiding questions in the lesson. The materials outline strategies for revising clay sculptures, such as smoothing details or reconstructing portions of the work, and emphasize revision as part of the artistic process.
Additionally, in unit 6, lesson 6.3, students reflect on their works in progress independently or with a partner using questions aligned to the studio evaluation criteria. Students determine whether their weaving demonstrates unity and variety, and consider how to improve the work. Students reflect on potential revisions, such as adding fringe or beads to increase visual interest. These reflection and evaluation activities guide students in assessing their artistic choices, identifying areas for revision, and making adjustments prior to completing the final weaving.
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 1, lesson 1.8 guides educators to provide explicit instruction in interpreting, evaluating, and responding to discipline-specific artistic works in alignment with the course TEKS. The lesson introduces and defines discipline-specific vocabulary, including visual rhythm, shapes, overlap, pattern, and stencil, and provides a sequenced process. The materials guide educators in facilitating evidence-based discussions about how artists create movement through visual rhythm, using academic art vocabulary and critique activities that require students to support their interpretations and evaluations with observations from the artwork.
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 5 review materials emphasize the development of art vocabulary to support students in looking at and discussing artwork during analysis. The guide provides notes throughout unit 5 that introduce and reinforce specific art terms. During discussion activities, educators direct students to examine an image and guide them through describing, analyzing, interpreting, and evaluating what they observe. The unit review also revisits objectives, art concepts, and projects to support students in applying newly acquired vocabulary when responding to artwork. Lastly, the materials explicitly connect this vocabulary to prior learning, upcoming units, and future grade levels to support the continuous development of art literacy.
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. The art criticism process repeats as it occurs throughout—describe, analyze, interpret, and evaluate—as students critique a work by Anni Albers. Unit concepts include weaving, fiber arts, fabric design, fan making, paper traditions, form, function, pottery, papier-mâché, and decoration, which are more complex than unit 1 concepts of portrait, expression, pose, proportion, space, perspective, sculpture, and positive and negative shapes. Students also engage in a “Portfolio Review, Reflection, and Presentation,” which is evaluated with the provided rubric. To achieve a level 4 in this category, students must select 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
“Guiding Responses to Art” in the Teacher Edition provides educator inquiry-based methods to lead discussions of an artwork. It instructs educators to explain that personal preference statements such as “I like it” or “I don’t like it” do not constitute critical evaluation. Educators state that students should apply the criteria and give specific examples of how the artwork does or does not meet the criteria to ensure a logical, evidence-based examination. Students refer to the evaluation criteria listed for each studio when evaluating their own and other 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
Similarly, in unit 4, lesson 4.3, students exchange peer feedback on their artistic works. The guide models a step-by-step process for educators to facilitate student discussion and peer feedback with a mid-lesson “Reflect and Revise” process. Students reflect on their work in progress and discuss completed artworks, displaying their architectural structures and describing how different color combinations were used to create mood. Students observe classmates’ structures, provide feedback, and identify similarities and differences in approaches to color use and design choices. In “Art Criticism,” students engage in structured discussions guided by specific questions related to images, allowing them to share observations and respond to multiple perspectives while analyzing artwork. The “Reflect, Revise, and Present” end-of-unit process guides students to discuss their structures, observe peer work, explore techniques and methods through feedback, and reflect on their experiences during the creation of architectural structures. “Art Criticism” also supports educator discussion facilitation by providing opportunities to observe student responses, listen to peer dialogue, and guide feedback exchange as students reflect, collaborate, and respond to each other’s work.
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, unit 5, lesson 5.3 offers opportunities for students to receive educator feedback on their artistic works. The lesson models a step-by-step process for observing student work, facilitating discussion, and providing feedback in “Reflect and Present.” Educators prompt students to identify which parts of their prints are most successful, how they conveyed expression, and how they used shapes, textures, and techniques. The educator facilitates a class discussion in which students present their prints, identify each creature, and describe how lines are used to create texture and pattern. The educator provides feedback throughout the lesson to support students in applying printmaking techniques and developing their small creature compositions. While students are working, the educator uses the assessment rubric to evaluate student progress and provide targeted feedback aligned with the lesson objectives.
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
Additionally, the Teacher Edition includes the “Introducing Media and Techniques” page, which provides guidance to help students use different media and refine their artistic skills. A tip for water-based felt marker use suggests drawing on damp paper or using a wet brush on top of drawn lines, shapes, or textures to create watercolor effects.
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, in unit 6, lesson 6.3, students reflect on their works in progress independently or with a partner using questions aligned to the studio evaluation criteria. Students determine whether their weaving demonstrates unity and variety, and consider how to improve the work. Students reflect on potential revisions, such as adding fringe or beads to increase visual interest. These reflection and evaluation activities guide students in assessing their artistic choices, identifying areas for revision, and making adjustments prior to completing the final weaving.
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
The materials support cross-curricular connections and connections across the art disciplines. Unit introductions include “Unit Cross Curricular Connections” for educators; for example, in unit 2, STEAM science connections appear in lessons 2.1, 2.2, 2.6, 2.7, and 2.8, and social studies connections occur in lessons 2.2, 2.3, and 2.5. This section also includes cross-disciplinary connections, noting that dance connections occur in lesson 2.2. Educators can develop a comprehensive unit plan by accessing these materials.
Unit 3, lesson 3.3 includes educator guidance for explicit instruction on cross-curricular and cross-disciplinary connections. Students make connections among visual art, music, and technology by identifying symbols used to communicate ideas in art and applying this understanding to create music through a media application. Students examine how musical symbols represent sounds and ideas, then work collaboratively to explore musical genres and eras while selecting sounds that connect to their instruments, demonstrating relationships among symbols, musical expression, and technology.
Evaluation for 6.1b
Unit 6, lesson 6.6, “Celebrating with Masks: Paper Traditions,” enables students to explore cross-curricular connections. Through the lesson’s “STEAM Connection,” students use digital tools to research masks from different cultures, integrating technology and social studies with visual art. The lesson also includes “Connections Across the Arts,” in which students create and wear masks during a movement activity, connecting visual art and dance while demonstrating artistic expression across multiple fine arts disciplines.
In the unit 6 “STEAM: Focus on Science,” students explore cross-curricular and cross-disciplinary connections between visual arts and the science of landforms. The lesson includes connections to topography: the mathematical concept of slope, use of contour lines to depict elevation on maps, and use of LiDAR to measure distance and create topographic maps.
Evaluation for 6.2a
Unit 1, lesson 1.8 provides cross-curricular connections to social studies by exploring Flag Day and its historical significance, including the adoption of the United States flag. Students examine a figurative artwork, discuss the actions and movements of the people depicted, and learn how artists use visual rhythms, stenciled elements, symbolism, composition, and materials to represent people moving together. The educator guidance includes information about the artist, artwork, and history. “Connections Across the Arts: Music” enables comparison of musical rhythm to rhythm in art.
In unit 3, lesson 3.5, educator guidance provides information on relief sculpture through the study of the ancient Roman Column of Trajan. Educators describe the technical features of relief sculpture, the purpose of public artwork, and the significance and historical context of the column’s location. “Connections Across the Curriculum” provides history and geography connections.
Evaluation for 6.2b
In unit 2, lesson 2.3, Students examine an artwork from Nepal to identify realistic and surprising aspects. Students explore additive sculpture processes to create their own animal sculptures using artistic processes.
In unit 3’s “STEAM: Focus on Engineering,” students explore a variety of artistic works and traditions from diverse cultures. For example, students examine the sculpture Bearing Witness and discuss their ideas about how the title fits the sculpture, the curving and extreme height, the structure itself, the work’s location, and its sculptor, Martin Puryear. Students gather with classmates, conduct metal-forming experiments, collect data in their “Research Journals,” and build a freestanding sculpture or mobile of their choice in metal.
Evaluation for 6.2c
In unit 4, lesson 4.7, students demonstrate understanding of relevant historical and cultural context in alignment with the course TEKS, exploring the historical purpose of castles as structures designed for safety and examining architectural features such as conical and cylindrical forms. The lesson incorporates cross-curricular connections to social studies by examining how architecture reflects the needs, values, and daily lives of people in various historical contexts. The lesson includes “About the Art,” which suggests that students research historic castles and write and perform a story about who might have lived there.
Additionally, unit 6, lesson 6.4 “The Tradition of Batik: Fabric Design” activities and tasks require students to demonstrate understanding of relevant discipline-specific historical and cultural context in alignment with the course TEKS. Students examine batik as a traditional fiber art process, identify characteristics such as wax-resist techniques, multiple color applications, and the time-intensive process involved in creating batik designs. Through the study of batik examples from Nigeria and guided discussions, students explore how fiber arts reflect cultural traditions, identity, and artistic expression across regions. The lesson supports cross-curricular connections by incorporating social studies concepts related to culture, traditions, and communities. Students engage in mapwork through geography connections and learn historical connections in the “About the Art” section while developing understanding of art-making practices.
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
Unit 3, lesson 3.3 includes educator guidance for explicit instruction on cross-curricular and cross-disciplinary connections. Students make connections among visual art, music, and technology by identifying symbols used to communicate ideas in art and applying this understanding to create music through a media application. Students examine how musical symbols represent sounds and ideas, then work collaboratively to explore musical genres and eras while selecting sounds that connect to their instruments, demonstrating relationships among symbols, musical expression, and technology.
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
In the unit 6 “STEAM: Focus on Science,” students explore cross-curricular and cross-disciplinary connections between visual arts and the science of landforms. The lesson includes connections to topography: the mathematical concept of slope, use of contour lines to depict elevation on maps, and use of LiDAR to measure distance and create topographic maps.
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
In unit 3, lesson 3.5, educator guidance provides information on relief sculpture through the study of the ancient Roman Column of Trajan. Educators describe the technical features of relief sculpture, the purpose of public artwork, and the significance and historical context of the column’s location. “Connections Across the Curriculum” provides history and geography connections.
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 Engineering,” students explore a variety of artistic works and traditions from diverse cultures. For example, students examine the sculpture Bearing Witness and discuss their ideas about how the title fits the sculpture, the curving and extreme height, the structure itself, the work’s location, and its sculptor, Martin Puryear. Students gather with classmates, conduct metal-forming experiments, collect data in their “Research Journals,” and build a freestanding sculpture or mobile of their choice in metal.
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
Additionally, unit 6, lesson 6.4 “The Tradition of Batik: Fabric Design” activities and tasks require students to demonstrate understanding of relevant discipline-specific historical and cultural context in alignment with the course TEKS. Students examine batik as a traditional fiber art process, identify characteristics such as wax-resist techniques, multiple color applications, and the time-intensive process involved in creating batik designs. Through the study of batik examples from Nigeria and guided discussions, students explore how fiber arts reflect cultural traditions, identity, and artistic expression across regions. The lesson supports cross-curricular connections by incorporating social studies concepts related to culture, traditions, and communities. Students engage in mapwork through geography connections and learn historical connections in the “About the Art” section while developing understanding of art-making practices.