Program Information
- ISBN
- 9798886951271
- 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 4 Texas Edition
Grade 4
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 4 | 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
The Explorations in Art, Grade 4 scope and sequence identifies program concepts, student learning objectives, the strand of each objective, and lists where and when lessons explore concepts. For example, in lesson 2.3, “Sculptures that Tell Stories: Clay Sculpture,” the “Introduce the Studio” section guides educators to have students recall how artists depict people alone or in groups to convey a narrative, which aligns with the grade-level TEKS 4.2C.
Additionally, the scope and sequence maps out lessons by grouping them into three thematic strands, demonstrating how concepts are organized throughout the program. “Unit Planning Guides” integrate concepts taught in the student learning objectives. For example, lesson 3.2, “Textures in Places: Visual Textures,” identifies strands 1 and 3 student learning objectives: Understand that artists and designers can show the textures found in a place, describe and analyze ways that artists show textures in artworks, and create a painting to meet studio evaluation criteria.
Evaluation for 1.1b
In the Teacher Edition, the scope and sequence includes a detailed course-level pacing guide that supports educators’ understanding of the number of instructional days, class periods, and time needed to cover all instructional units. For example, for Grades 1–6, the scope and sequence offers four pacing options: one for a traditional school year with daily lessons, one for a semester of daily lessons, a full year with weekly classes with instruction in all units, and a full year with weekly classes with instruction from two units. Each pacing option specifies which lessons, studio experiences, and assessments to complete for each unit.
Additionally, the scope and sequence provides 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 amount of required time to cover lessons per day or week as a whole. For example, the pacing calendar denotes lesson 1.8 as a 45-minute lesson, which can be extended with additional cross-curricular connections in dance and science. The pacing guidelines for Grades 1–6 indicate that all units and lessons follow the same format, and if educators complete all lessons the minimum time is 70.5 hours, or 96 45-minute class periods.
Evaluation for 1.1c
The program overview section explains the curriculum’s overall design and instructional approach, highlighting the grounding philosophy, program features, and structure, and noting that “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 philosophy states that in art “[W]e 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 equip educators with tools to support studio practices, foster inquisitive thinking, and guide students in exploring new artistic processes. This information supports student development throughout the program by establishing foundational skills while providing lesson descriptors and the instructional rationale for each unit.
Evaluation for 1.1d
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, “Play on Words: Collage,” includes a pacing recommendation of two 45-minute periods and the essential question, “How can we share Ideas?” and the Big Idea "Thinking and working as artists and designers, we can explore connections among words, ideas,
and pictures." 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
Additionally, downloadable PDF lesson plans for the program include protocols to support lesson internalization through detailed instructional guidance. For example, unit 2, lesson 2.4 demonstrates how the materials support lesson internalization through a structured protocol that helps educators understand lesson content, delivery, and student expectations before instruction begins. The Teacher Edition guides educators in introducing lesson objectives and explicitly teaching the content knowledge, vocabulary, and skills embedded within those objectives. The “Teach Through Inquiry” section supports lesson internalization by outlining guided practice opportunities, identifying expected student engagement, and providing guidance for establishing success criteria. The “Studio Time” section clarifies independent practice expectations and formative assessment opportunities, enabling educators to anticipate student outcomes and monitor learning throughout the lesson. Lastly, embedded differentiated instruction supports help educators plan for diverse learning needs during lesson preparation.
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, enabling instructional leaders to support lesson planning, resource allocation, and instructional monitoring. The “Planning Guide” also demonstrates how learning progresses throughout the unit while integrating learning across other content areas. This structured overview provides implementation guidance and supports lesson delivery of course materials.
Additional implementation resources in the “Reference” section of the Teacher Edition include “Visual Literacy,” which outlines teaching techniques for teaching visual literacy in the program; “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.”
Finally, the Davis Digital website provides resources and guidance for instructional leaders in the “Help” tab, which contains support videos demonstrating many aspects of this program at various levels. Videos include a general overview of the materials, a “Quick Start” guide, and implementation videos for elementary, middle school, and high school grade levels. The website also provides videos for online art instruction and portfolio support.
Evaluation for 1.2a
“Unit Planning Guides” include the unit theme, lesson strands, lesson topics, suggested pacing, artworks, studio topics, vocabulary, materials and cross-curricular connections. Vocabulary support in unit 1, lesson 1.4, “Looking at Colors Together: Mixing Paint Colors,” includes the vocabulary words hue, primary, secondary, and intermediate colors. Glossaries in the Teacher and Student Editions define academic language. The resource guide includes full-color art room reference sheets on discipline-specific topics to support background knowledge and vocabulary.
Additionally, the “Unit 1 Planning Guide” provides a comprehensive unit overview to support educators’ knowledge throughout the lessons. The overview organizes student exploration activities and lessons in charts with key concepts, artworks, studio media, vocabulary, and cross-curricular connections. Each unit introduction includes educator background information in the “Teach Through Inquiry” section, which addresses the unit’s theme and background. This guide supports educators by building their content knowledge to use throughout the unit, supporting instruction. In lesson 1.7, “Up, Down, and Straight Ahead: Views of Places,” for example, “About the Artist” features biographical information about painter Grant Wood, whose works are discussed to support educators’ background knowledge of unit concepts.
Evaluation for 1.2b
The instructional materials include “Family Tips” sheets that provide support for families in English and Spanish. These include student expectations for the unit, what students will learn, what they will do, vocabulary words, and 10 extension ideas that parents can use to support student progress. Unit 3 includes the suggestion, “Pay attention to cartoons and comic strips in newspapers, magazines, and on TV. Compare and contrast the ways artists use exaggeration and distortion to create their characters and give them personalities.” These editable family-facing resources extend student learning, encouraging progress.
Additionally, the “Enable Translation” button on the top toolbar of the landing page of the Davis Digital website translates page contents and course texts into several languages, including Spanish, giving caregivers and students complete access to all instructional materials.
Evaluation for 1.3a
Each lesson in the Teacher Edition includes detailed lesson plans to support educators in meeting content and language standards aligned with the TEKS, including lesson objectives and TEKS correlations. The downloadable PDF lesson plans include structured protocols to support lesson internalization. The “Prepare” section of each lesson includes the daily objectives along with the TEKS correlations, which help the educator maintain focus and meet the lesson’s content standards.
Additionally, the materials include various tasks, questions, and instructional assessments that are aligned with the daily objectives and the TEKS. For example, in lesson 1.8’s “Explore the Images” section, educators prompt students to describe what they see about the shape and structure of lines. Learning tasks in the “Create” section engage students in studio exploration of creating a monoprint using geometric shapes. The lesson “Close” checks for understanding with student questions about geometric shapes in art.
Evaluation for 1.3b
Individual unit plans highlight materials needed to deliver instruction in an organized chart, listing educator and student materials, including featured artworks and media by title and artist. Additionally, the Davis Digital website houses 20,000 high-quality art images included in the curriculum, which are searchable by lesson, artwork, medium, and element and can be tagged for future retrieval. Educators create their own slide presentations that can be shared across various student platforms for digital or asynchronous learning.
Additionally, the “Unit Planning Guide” paces on the lesson level, with suggestions for total completion time. The scope and sequence includes pacing suggestions for specific schedules. The daily lesson plans include lesson completion times broken into the suggested minutes for each lesson component, ensuring that lessons are taught in their entirety within the class period.
Evaluation for 1.3c
“Aesthetic Awareness” in lesson 3.2, “Textures in Places: Visual Texture,” offers an extension with the educator prompt for students to find different textures around the home. Additionally, students develop skills outside the classroom as they observe and respond to art in their everyday environments.
Educators remind students to use their “Research Journals” for creative expression and to record ideas, make sketches, and reflect on their artworks. The “Connections Across the Arts” section recommends cross-curricular connections that integrate art with other content areas.
1.1 Course-Level Design
1.1a
Materials include a scope and sequence outlining the TEKS, ELPS, and concepts taught in the course.
Materials include a scope and sequence outlining the TEKS, ELPS, and concepts taught in the course.
2 out of 2 points
Evaluation for 1.1a
Evaluation for 1.1a
Materials include a scope and sequence outlining the TEKS, ELPS, and concepts taught in the course.
2 out of 2 points
Additionally, the scope and sequence maps out lessons by grouping them into three thematic strands, demonstrating how concepts are organized throughout the program. “Unit Planning Guides” integrate concepts taught in the student learning objectives. For example, lesson 3.2, “Textures in Places: Visual Textures,” identifies strands 1 and 3 student learning objectives: Understand that artists and designers can show the textures found in a place, describe and analyze ways that artists show textures in artworks, and create a painting to meet studio evaluation criteria.
1.1b
Materials include suggested pacing to support effective implementation for various instructional schedules (e.g., rotational schedules) and various instructional calendars (e.g., varying number of instructional days).
Materials include suggested pacing to support effective implementation for various instructional schedules (e.g., rotational schedules) and various instructional calendars (e.g., varying number of instructional days).
3 out of 3 points
Evaluation for 1.1b
Evaluation for 1.1b
Materials include suggested pacing to support effective implementation for various instructional schedules (e.g., rotational schedules) and various instructional calendars (e.g., varying number of instructional days).
3 out of 3 points
Additionally, the scope and sequence provides 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 amount of required time to cover lessons per day or week as a whole. For example, the pacing calendar denotes lesson 1.8 as a 45-minute lesson, which can be extended with additional cross-curricular connections in dance and science. The pacing guidelines for Grades 1–6 indicate that all units and lessons follow the same format, and if educators complete all lessons the minimum time is 70.5 hours, or 96 45-minute class periods.
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 philosophy states that in art “[W]e 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 equip educators with tools to support studio practices, foster inquisitive thinking, and guide students in exploring new artistic processes. This information supports student development throughout the program by establishing foundational skills while providing lesson descriptors and the instructional rationale for each unit.
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
and pictures." 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
Additionally, downloadable PDF lesson plans for the program include protocols to support lesson internalization through detailed instructional guidance. For example, unit 2, lesson 2.4 demonstrates how the materials support lesson internalization through a structured protocol that helps educators understand lesson content, delivery, and student expectations before instruction begins. The Teacher Edition guides educators in introducing lesson objectives and explicitly teaching the content knowledge, vocabulary, and skills embedded within those objectives. The “Teach Through Inquiry” section supports lesson internalization by outlining guided practice opportunities, identifying expected student engagement, and providing guidance for establishing success criteria. The “Studio Time” section clarifies independent practice expectations and formative assessment opportunities, enabling educators to anticipate student outcomes and monitor learning throughout the lesson. Lastly, embedded differentiated instruction supports help educators plan for diverse learning needs during lesson preparation.
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
Additional implementation resources in the “Reference” section of the Teacher Edition include “Visual Literacy,” which outlines teaching techniques for teaching visual literacy in the program; “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.”
Finally, the Davis Digital website provides resources and guidance for instructional leaders in the “Help” tab, which contains support videos demonstrating many aspects of this program at various levels. Videos include a general overview of the materials, a “Quick Start” guide, and implementation videos for elementary, middle school, and high school grade levels. The website also provides videos for online art instruction and portfolio support.
1.2 Unit-Level Design
1.2a
Materials include comprehensive unit overviews that provide the background content knowledge and academic and discipline-specific vocabulary necessary to effectively teach the concepts in the unit.
Materials include comprehensive unit overviews that provide the background content knowledge and academic and discipline-specific vocabulary necessary to effectively teach the concepts in the unit.
2 out of 2 points
Evaluation for 1.2a
Evaluation for 1.2a
Materials include comprehensive unit overviews that provide the background content knowledge and academic and discipline-specific vocabulary necessary to effectively teach the concepts in the unit.
2 out of 2 points
Additionally, the “Unit 1 Planning Guide” provides a comprehensive unit overview to support educators’ knowledge throughout the lessons. The overview organizes student exploration activities and lessons in charts with key concepts, artworks, studio media, vocabulary, and cross-curricular connections. Each unit introduction includes educator background information in the “Teach Through Inquiry” section, which addresses the unit’s theme and background. This guide supports educators by building their content knowledge to use throughout the unit, supporting instruction. In lesson 1.7, “Up, Down, and Straight Ahead: Views of Places,” for example, “About the Artist” features biographical information about painter Grant Wood, whose works 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, the “Enable Translation” button on the top toolbar of the landing page of the Davis Digital website translates page contents and course texts into several languages, including Spanish, giving caregivers and students complete access to all instructional materials.
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
Additionally, the materials include various tasks, questions, and instructional assessments that are aligned with the daily objectives and the TEKS. For example, in lesson 1.8’s “Explore the Images” section, educators prompt students to describe what they see about the shape and structure of lines. Learning tasks in the “Create” section engage students in studio exploration of creating a monoprint using geometric shapes. The lesson “Close” checks for understanding with student questions about geometric shapes in art.
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
Additionally, the “Unit Planning Guide” paces on the lesson level, with suggestions for total completion time. The scope and sequence includes pacing suggestions for specific schedules. The daily lesson plans include lesson completion times broken into the suggested minutes for each lesson component, ensuring that lessons are taught in their entirety within the class period.
1.3c
Materials include guidance on the effective use of lesson materials for extended practice (e.g., homework, extension, enrichment).
Materials include guidance on the effective use of lesson materials for extended practice (e.g., homework, extension, enrichment).
1 out of 1 points
Evaluation for 1.3c
Evaluation for 1.3c
Materials include guidance on the effective use of lesson materials for extended practice (e.g., homework, extension, enrichment).
1 out of 1 points
Educators remind students to use their “Research Journals” for creative expression and to record ideas, make sketches, and reflect on their artworks. The “Connections Across the Arts” section recommends cross-curricular connections that integrate art with other content areas.
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
The “Teach Through Inquiry” section incorporates diagnostic assessment through oral discussion questions about unit concepts before instruction. For example, the diagnostic assessment for lesson 2.3 on narrative clay sculpture centers on a preteaching exercise about the lesson concept. Educators ask questions such as “How do you know the largest figure is a storyteller?” and “How are the listening figures posed?” Student responses indicate which students might already be familiar with the artistic concept and which may need support through the unit.
Furthermore, lesson 2.3 contains formative options that vary by task. For example, students create original clay sculptures that meet studio evaluation criteria. The “Assess” box includes three criteria for the sculptures to demonstrate students’ conceptual understanding. In “Explore the Images,” students discuss forms and details they see in the storyteller figure, the locations of colors, and the proportions of the figures. Discussion questions as a formative directly address the diagnostic questions asked prior to instruction. The four-point proficiency rubric scores assessments on lesson and unit levels.
Lastly, each unit includes a summative assessment with various performance tasks to show mastery. The unit 1 assessments include multiple options, including a match-the-picture task, that covers artworks learned in the unit. Students write a poem about the work of Ando Hiroshige and participate in open discussion with provided sentence stems. Students engage in critique of an artwork by describing, analyzing, interpreting, and evaluating the piece while supporting their answers with discipline-specific vocabulary. Lastly, students engage in “Portfolio Review, Reflection, and Presentation.”
Evaluation for 2.1b
The unit 1 introduction includes multiple types of opportunities that serve as diagnostic, formative and summative assessments. The “Strategies for Assessment” section of the Teacher Edition defines the types of assessments and explains the intended purposes of each. Diagnostics are available as pre-assessment downloads. Materials include formative assessments used during instruction, studio evaluation criteria, and unit summative assessments to evaluate student understanding and skill development.
Additionally, downloadable lesson plans include an “Assess” section that defines and outlines the intended purpose of art criticism questions and assessment criteria used for formatives and summatives. For example, as a summative, students analyze two artworks by Janet Fish by describing visual details and comparing and contrasting the works. Each lesson provides a four-point proficiency scale to support the summative evaluation of student understanding.
Evaluation for 2.1c
Each lesson includes an “Assessment” section that provides a four-point proficiency scale to support the evaluation of student understanding and completed artwork. Because each performance level is objectively described, the rubric serves as a guide for evaluating student work consistently, supporting educators in determining the precise level of achievement for each student, reducing subjectivity in scoring, and providing information about student progress. Materials include student answers for factual questions.
The unit 1 summative 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 engage in discussions while referencing artworks they have studied to support their thinking. This reflection helps students make connections between unit concepts and their created artworks. Possible student responses and correct responses for any factual questions are included in the materials. Performance tasks are evaluated by 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. Diagnostic, formative and summative assessments throughout the course are aligned to the TEKS and objectives. The grade-level TEKS center on elements of art, creative expression, cultural relevance, and critical evaluation, supporting lessons in the course. The materials provide TEKS alignment for each lesson.
Each assessment in the course engages students in active, hands-on skills development or oral discussion, both of which are supported by the TEKS.
For example, the studio evaluation criteria for lesson 3.9 aligns with the lesson objectives and TEKS as a summative assessment. Through discussion, students explore landmarks as places of historical and artistic significance. Students then redesign a landmark, applying artistic elements. The rubric guides educators’ analysis of applied elements, which represents alignment on the TEKS correlations chart. This lesson supports grade-level TEKS by incorporating the strands of art elements, creative expression, historical significance, and critical evaluation.
Evaluation for 2.1e
The assessments include a variety of types at varying levels of complexity. These include matching artistic concepts with artworks, discussions, and oral responses to questions—some of which are true or false, while others are open-ended. Students engage in tasks that require performance skills, written response, vocabulary recall to question prompts, and correct vocabulary use in classroom discussion. Students engage in personal reflection and artwork evaluation and critique based upon the elements of art and a provided critique protocol. Students generalize meaning of abstraction concepts such as line, form, and shape.
In lesson 2.6, students discuss expressions in artworks. In the next phase, students apply knowledge in discussions about idioms in literature and their meanings. Students apply their knowledge by selecting an idiom and pairing that with illustrative ideas, completing a corresponding artwork. At the highest level of complexity, students evaluate and critique artwork. The instructional materials include the downloadable TEKS correlations chart, which provides a detailed, linked list of breakouts or activities by unit. This document serves as a comprehensive guide to assure educators of alignment of instruction with the TEKS, as all assessments engage the strands, including elements of art, creative expression, cultural or historical relevance, and critical evaluation.
Evaluation for 2.2a
Assessments and scoring information provide educators guidance they need to interpret performance. For example, the “Studio Exploration” for each unit strand includes an assessment rubric aligned to the lesson objectives. 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.
The “Sharing Ideas” unit revisits the essential question “How Can We Share Ideas?” and the Big Ideas about artists conveying human experience. Assessment questions guide students through the lesson concepts. Students analyze, compare, and contrast two paintings by Amy Sherald. Students create an original portrait. Students demonstrate understanding by discussing what they learned, giving examples from lessons and their own artwork, and explaining how those examples apply. Through a portfolio review, reflection, and small-group presentation, students select work that best represents the Big Idea, explain their choices, and share insights about line and color. This assessment process shows understanding based upon guidance in scoring with the provided rubric that ensures student performance is interpreted according to standards.
Evaluation for 2.2b
The “Strategies for Assessment” section advises educators to create a list of students’ names in advance of instruction to facilitate collection and documentation of assessment results and comments. This same roster of collected information guides educator response to trends. A sidebar in each lesson of the Teacher Edition discusses differentiated instruction, offering supports for diverse learners including advanced learners, emergent bilingual (EB) students, and students with special needs.
Furthermore, the “Teach Through Inquiry” section of lesson 2.6 in the Teacher Edition provides guidance for using studio tasks to clarify concepts and reinforce learning based on student performance trends. For example, educator guidance asks educators to anticipate EB students’ needs by explaining the meaning of various idioms so the students do not try to attach a literal meaning to these phrases. Additionally, educator prompts encourage advanced learners to make up their own idioms. Lastly, the materials recommend that educators provide a book of idioms that students who need additional support can select from and illustrate.
Evaluation for 2.2c
Educators track student growth through the collection of anecdotal and performance assessment results, which serves as growth measures during educator–student conferences. In “Strategies for Assessment,” educators examine the importance of alignment across grade levels, which occurs as educators implement an “assess while you teach” philosophy emphasizing that alignment occurs when educators ask a question that targets the daily objective. This ongoing process, combined with provided assessments, allows educators to track student growth and progress. Additionally, educators train students to build their own portfolios, which authentically depicts and tracks student growth and progress for the educator and the student.
Additionally, students self-assess and track their growth using portfolios, journals, rubrics, interviews and written assignments. The “Strategies for Assessment” section includes student self-evaluation tools and student-led activities designed to assist with reflection and independent progress tracking. The “Involving Students in Assessment” component includes 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
Furthermore, lesson 2.3 contains formative options that vary by task. For example, students create original clay sculptures that meet studio evaluation criteria. The “Assess” box includes three criteria for the sculptures to demonstrate students’ conceptual understanding. In “Explore the Images,” students discuss forms and details they see in the storyteller figure, the locations of colors, and the proportions of the figures. Discussion questions as a formative directly address the diagnostic questions asked prior to instruction. The four-point proficiency rubric scores assessments on lesson and unit levels.
Lastly, each unit includes a summative assessment with various performance tasks to show mastery. The unit 1 assessments include multiple options, including a match-the-picture task, that covers artworks learned in the unit. Students write a poem about the work of Ando Hiroshige and participate in open discussion with provided sentence stems. Students engage in critique of an artwork by describing, analyzing, interpreting, and evaluating the piece while supporting their answers with discipline-specific vocabulary. Lastly, students engage in “Portfolio Review, Reflection, and Presentation.”
2.1b
Materials include the definition and intended purpose for the types of instructional assessments included.
Materials include the definition and intended purpose for the types of instructional assessments included.
1 out of 1 points
Evaluation for 2.1b
Evaluation for 2.1b
Materials include the definition and intended purpose for the types of instructional assessments included.
1 out of 1 points
Additionally, downloadable lesson plans include an “Assess” section that defines and outlines the intended purpose of art criticism questions and assessment criteria used for formatives and summatives. For example, as a summative, students analyze two artworks by Janet Fish by describing visual details and comparing and contrasting the works. Each lesson provides a four-point proficiency scale to support the summative evaluation of student understanding.
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 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 engage in discussions while referencing artworks they have studied to support their thinking. This reflection helps students make connections between unit concepts and their created artworks. Possible student responses and correct responses for any factual questions are included in the materials. Performance tasks are evaluated by 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
Each assessment in the course engages students in active, hands-on skills development or oral discussion, both of which are supported by the TEKS.
For example, the studio evaluation criteria for lesson 3.9 aligns with the lesson objectives and TEKS as a summative assessment. Through discussion, students explore landmarks as places of historical and artistic significance. Students then redesign a landmark, applying artistic elements. The rubric guides educators’ analysis of applied elements, which represents alignment on the TEKS correlations chart. This lesson supports grade-level TEKS by incorporating the strands of art elements, creative expression, historical significance, 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 2.6, students discuss expressions in artworks. In the next phase, students apply knowledge in discussions about idioms in literature and their meanings. Students apply their knowledge by selecting an idiom and pairing that with illustrative ideas, completing a corresponding artwork. At the highest level of complexity, students evaluate and critique artwork. The instructional materials include the downloadable TEKS correlations chart, which provides a detailed, linked list of breakouts or activities by unit. This document serves as a comprehensive guide to assure educators of alignment of instruction with the TEKS, as all assessments engage the strands, including elements of art, creative expression, cultural or historical 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
The “Sharing Ideas” unit revisits the essential question “How Can We Share Ideas?” and the Big Ideas about artists conveying human experience. Assessment questions guide students through the lesson concepts. Students analyze, compare, and contrast two paintings by Amy Sherald. Students create an original portrait. Students demonstrate understanding by discussing what they learned, giving examples from lessons and their own artwork, and explaining how those examples apply. Through a portfolio review, reflection, and small-group presentation, students select work that best represents the Big Idea, explain their choices, and share insights about line and color. This assessment process shows understanding based upon guidance in scoring with the provided rubric that ensures student performance is interpreted according to standards.
2.2b
Materials provide guidance for the use of included tasks and activities to respond to student trends in performance on assessments.
Materials provide guidance for the use of included tasks and activities to respond to student trends in performance on assessments.
1 out of 1 points
Evaluation for 2.2b
Evaluation for 2.2b
Materials provide guidance for the use of included tasks and activities to respond to student trends in performance on assessments.
1 out of 1 points
Furthermore, the “Teach Through Inquiry” section of lesson 2.6 in the Teacher Edition provides guidance for using studio tasks to clarify concepts and reinforce learning based on student performance trends. For example, educator guidance asks educators to anticipate EB students’ needs by explaining the meaning of various idioms so the students do not try to attach a literal meaning to these phrases. Additionally, educator prompts encourage advanced learners to make up their own idioms. Lastly, the materials recommend that educators provide a book of idioms that students who need additional support can select from and illustrate.
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
Additionally, students self-assess and track their growth using portfolios, journals, rubrics, interviews and written assignments. The “Strategies for Assessment” section includes student self-evaluation tools and student-led activities designed to assist with reflection and independent progress tracking. The “Involving Students in Assessment” component includes 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 section “Strategies for Assessment” guides educators in planning for differentiated instruction by first understanding students’ prior knowledge, abilities, learning styles, and interests. Instructional approaches may include direct instruction; inquiry-based learning; cooperative learning; information-processing strategies such as graphic organizers and scaffolding; choice-based learning; and flexible grouping formats. In addition, educators use various assessment types—such as portfolios, rubrics, performance-based tasks, self-assessments, and knowledge mapping—to ensure that students have multiple opportunities to demonstrate understanding and show authentic learning.
Additionally, in unit 3, lesson 3.4, the “Differentiated Instruction” section supports mastery of TEKS-aligned objectives by providing accommodations that allow students to access concepts at different levels of proficiency. The materials suggest to show visual learners or students who need support many examples before they begin the task. To best support students with physical mobility concerns, educators are guided to precut paper strips for easy access.
Evaluation for 3.1b
Preteaching and embedded supports clarify unfamiliar vocabulary and contextual references so students can access, comprehend, and discuss art. For example, in unit 3, lesson 3.6, “Trading Spaces: Interior Design,” embedded vocabulary supports student understanding of key concepts aligned with the TEKS, such as interior design and floor plan. Students examine rooms to observe its space. In the studio activity, students pretend they’re designing a space for a client. Throughout the lesson, vocabulary explanation, modeling, and application supports connections to content.
Each unit includes a vocabulary list and a corresponding “Family Tips” sheet that includes language of the discipline; for example, unit 4, lesson 4.2 embeds preteaching vocabulary to support student understanding of concepts aligned with the TEKS. The “Engage” portion of the lesson guides students to activate prior knowledge by discussing animals at play, which connects learning to familiar experiences before introducing new vocabulary. The lesson then introduces contextualized terms center of interest, print, and brayer. After explaining the process of creating a relief print, educators encourage students to begin with preparatory drawings.
Evaluation for 3.1c
Lessons in the Teacher Edition include differentiated instructional supports, offering advanced learning opportunities for students who have demonstrated proficiency in the targeted concepts and skills. Embedded extension and enrichment activities provide opportunities for exploration and cross-curricular learning. These supports include language arts connections that reinforce reading and writing skills, visual culture activities that help students relate their learning to visual communication and cultural contexts, and “Connections Across the Arts” experiences that integrate theatre, music, and dance to broaden artistic understanding and engagement.
Additionally, “Differentiated Instruction” for unit 6, lesson 6.2 suggests an extension for advanced learners in which students who finish early can sketch a scene with their artwork on display in a museum, library, or other public space.
Evaluation for 3.1d
Educator guidance includes specially designed instruction (SDI) supports with accessible modifications. Instructional differentiation provides support for students with physical challenges by offering alternative tools such as larger brushes or sponge brushes for easier handling and control. Other adaptations include modifying grip by adding foam or tennis balls to tool handles as well as securing tools to a glove using Velcro for students who cannot hold materials independently. These supports ensure students can participate in the art-making process while accessing the same learning objectives.
Additionally, the “Differentiated Instruction” portion of lesson 6.2 suggests that educators use bubble wrap to thicken the handles on tools to support students with physical challenges and tactile or sensory issues.
Evaluation for 3.2a
“Teach Through Inquiry” sections in each lesson give educators explicit directions and prompts for modeling and explaining concepts to students, along with suggested answers. Educators engage students with a series of questions that relate directly to the lesson. After modeling, the educator guides students through a series of images for analysis with provided questions.
In lesson 2.9, educators set the stage for “Introduce the Studio” lessons by explaining how artists make moving pictures. Then, in “Explore the Images,” educators explain how a zoetrope works, and students complete a “Studio Exploration” experience supported by step-by-step educator instructions on how to create their own zoetropes.
Evaluation for 3.2b
The section titled “Teach Through Inquiry” in each lesson of the Teacher Edition includes guidance for educators on effective lesson delivery and facilitation, suggesting instructional approaches throughout the text such as direct instruction, paired discussion, and individual student project-based assignments. Guidance includes instructions on small-group activities in which students reflect on and discuss their artworks based upon lesson concepts.
For example, lesson 4.8 includes a multiday lesson plan structured around educator-led inquiry, student analysis of artworks, individual studio practice, and student-led reflection and sharing. Throughout the sequence of lessons, the curriculum emphasizes defined material requirements, guided instruction, and established formative assessment strategies. It outlines differentiation opportunities, introduces essential art vocabulary, and specifies alignment with targeted teaching standards.
Evaluation for 3.2c
Unit 2 in the Teacher Edition contains a lesson plan that supports various student practices while giving educators guidance for effective instruction. The “Teach Through Inquiry” section includes image analysis, a whole-group activity in which students hear others’ responses. In “Explore the Images” with hands-on work in “Studio Time,” students work independently with stencils. Because the lesson includes directions for skills such as stencil cutting and painting techniques such as stippling and soft brushwork, educators engage in the instructional practice of modeling the techniques. Lastly, the unit concludes with reflection and collaborative student-led discussions of learning.
In lesson 5.9, students create papier-mâché masks. Educator guidance includes a variety of instructional strategies for effective implementation. “Engage” and “Explore the Images” sections center on educator-led inquiry and guided discussion so students can receive scaffolded support as they engage with a new topic. This leads into independent “Studio Exploration” as the educator facilitates the artmaking process. Students end lessons with a reflection and peer collaboration in which they share their artworks.
Evaluation for 3.3a
Point-of-use “Differentiated Instruction” supports in the Teacher Edition provide guidance for offering linguistic supports to EB students as they develop academic and discipline-specific language skills. In lesson 1.5, “Differentiated Instruction” provides targeted strategies and support for EB students. The educator writes landscape, cityscape, and seascape, emphasizing -scape as a suffix. The educator explains that in Spanish, there is a single word for landscape, but the other two words are multiple words combined. Then the educator helps the English learner recognize that in English -scape is added to a base word to become a new, related word. Teacher Edition includes guidance for supporting student gestures and poses for emergent bilinguals, modeling pronunciation, and study of cognates for cross-linguistic connections for more advanced students, which addresses acquisiton for varying levels of language proficiency.
Additionally, the Teacher Edition includes guidance on providing linguistic accommodations for various levels of language proficiency to help engage students in using academic and discipline-specific language. In lesson 5.3, “Differentiated Instruction” suggests that educators model stacking shapes while delivering instructions of stacking identical shapes so students understand the language within the materials.
Evaluation for 3.3b
The materials provide educator guidance, cross-disciplinary connections, Spanish glossaries, and a multilingual translation toolbar on Davis Digital for all student texts and website content. The “Differentiated Instruction” section of the text presents adapted language-development strategies that reduce learning barriers while facilitating art vocabulary growth. EB support guides educators in clarifying specific terms. By combining constructed visuals, tasks, and focused vocabulary, this approach provides educators with supports for effective instruction in EB classrooms.
Additionally, the “Teach Through Inquiry” section of the Teacher Edition’s lesson 1.5, “Seeing Shadows and Light: Mixing Tints and Shades,” provides guidance for facilitating class discussions. “Differentiated Instruction” includes guidance for EB learners by explaining landscape, cityscape, and seascape, while the “Language Arts” and “Reading Comprehension” boxes prompt students to write about a color they do or do not like and to make connections to how writers and artists create moods in their works.
Evaluation for 3.3c
The “Engage” and “Explore the Images” sections of lesson 2.2 include discussion prompts and educator guidance to have students analyze images and incorporate background knowledge into their discussion about images. Suggestions in this lesson include investigating compound words with EB learners, and allowing students to research a historical figure and tell why they are important, which builds cross-linguistic and background knowledge because this studio project is a history painting designed to tell a story.
Additionally, the Teacher Edition includes embedded guidance for educators to support EB students in vocabulary acquisition, which builds background knowledge and comprehension. For example, lesson 3.9, “Our Colorful Town: Landmarks,” includes a “Teach Through Inquiry” section that provides guidance for building background knowledge and academic vocabulary through discussion and reading the text in the student book. The “Differentiated Instruction” box includes sentence stems for EB students and explains landmarks to Spanish-speaking students. The “Writing Processes” inset provides students the opportunity to compare and contrast ways in which writers and artists plan and evaluate their work, and includes cross-curricular connections to history and geography.
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, in unit 3, lesson 3.4, the “Differentiated Instruction” section supports mastery of TEKS-aligned objectives by providing accommodations that allow students to access concepts at different levels of proficiency. The materials suggest to show visual learners or students who need support many examples before they begin the task. To best support students with physical mobility concerns, educators are guided to precut paper strips for easy access.
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
Each unit includes a vocabulary list and a corresponding “Family Tips” sheet that includes language of the discipline; for example, unit 4, lesson 4.2 embeds preteaching vocabulary to support student understanding of concepts aligned with the TEKS. The “Engage” portion of the lesson guides students to activate prior knowledge by discussing animals at play, which connects learning to familiar experiences before introducing new vocabulary. The lesson then introduces contextualized terms center of interest, print, and brayer. After explaining the process of creating a relief print, educators encourage students to begin with preparatory drawings.
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, “Differentiated Instruction” for unit 6, lesson 6.2 suggests an extension for advanced learners in which students who finish early can sketch a scene with their artwork on display in a museum, library, or other public space.
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, the “Differentiated Instruction” portion of lesson 6.2 suggests that educators use bubble wrap to thicken the handles on tools to support students with physical challenges and tactile or sensory issues.
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
In lesson 2.9, educators set the stage for “Introduce the Studio” lessons by explaining how artists make moving pictures. Then, in “Explore the Images,” educators explain how a zoetrope works, and students complete a “Studio Exploration” experience supported by step-by-step educator instructions on how to create their own zoetropes.
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
For example, lesson 4.8 includes a multiday lesson plan structured around educator-led inquiry, student analysis of artworks, individual studio practice, and student-led reflection and sharing. Throughout the sequence of lessons, the curriculum emphasizes defined material requirements, guided instruction, and established formative assessment strategies. It outlines differentiation opportunities, introduces essential art vocabulary, and specifies alignment with targeted teaching standards.
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
In lesson 5.9, students create papier-mâché masks. Educator guidance includes a variety of instructional strategies for effective implementation. “Engage” and “Explore the Images” sections center on educator-led inquiry and guided discussion so students can receive scaffolded support as they engage with a new topic. This leads into independent “Studio Exploration” as the educator facilitates the artmaking process. Students end lessons with a reflection and peer collaboration in which they share their artworks.
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, the Teacher Edition includes guidance on providing linguistic accommodations for various levels of language proficiency to help engage students in using academic and discipline-specific language. In lesson 5.3, “Differentiated Instruction” suggests that educators model stacking shapes while delivering instructions of stacking identical shapes so students understand the language within the materials.
3.3b
Materials include implementation guidance to support teachers in effectively using the materials in state-approved bilingual/ESL programs.
Materials include implementation guidance to support teachers in effectively using the materials in state-approved bilingual/ESL programs.
1 out of 1 points
Evaluation for 3.3b
Evaluation for 3.3b
Materials include implementation guidance to support teachers in effectively using the materials in state-approved bilingual/ESL programs.
1 out of 1 points
Additionally, the “Teach Through Inquiry” section of the Teacher Edition’s lesson 1.5, “Seeing Shadows and Light: Mixing Tints and Shades,” provides guidance for facilitating class discussions. “Differentiated Instruction” includes guidance for EB learners by explaining landscape, cityscape, and seascape, while the “Language Arts” and “Reading Comprehension” boxes prompt students to write about a color they do or do not like and to make connections to how writers and artists create moods in their works.
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 Teacher Edition includes embedded guidance for educators to support EB students in vocabulary acquisition, which builds background knowledge and comprehension. For example, lesson 3.9, “Our Colorful Town: Landmarks,” includes a “Teach Through Inquiry” section that provides guidance for building background knowledge and academic vocabulary through discussion and reading the text in the student book. The “Differentiated Instruction” box includes sentence stems for EB students and explains landmarks to Spanish-speaking students. The “Writing Processes” inset provides students the opportunity to compare and contrast ways in which writers and artists plan and evaluate their work, and includes cross-curricular connections to history and geography.
3.3d
If designed for dual language immersion (DLI) programs, materials include resources that outline opportunities to address metalinguistic transfer from English to the partner language.
If designed for dual language immersion (DLI) programs, materials include resources that outline opportunities to address metalinguistic transfer from English to the partner language.
Not applicable.
Evaluation for 3.3d
Evaluation for 3.3d
If designed for dual language immersion (DLI) programs, materials include resources that outline opportunities to address metalinguistic transfer from English to the partner language.
Not applicable.
Rubric Section 4
Artistic Literacy and Creative Expression
Materials are designed to develop and refine discipline-specific artistic knowledge and skills while providing opportunities for students to perform, exhibit, or present artistic works.
Total
100% (16 out of 16 points)
Evaluation for 4.1a
The “Teach Through Inquiry” section provides educators with guidance for art-related content delivery. Educators use supplied guided questions to introduce students to artistic concepts in the lesson before engaging students in an “Explore the Images” activity that supports students in applying these concepts as they analyze and respond to images. “Studio Exploration” guides educators to explicitly teach artistic literacy of the strand and lesson. The iterative process develops student artistic literacy through learning concepts, interpreting and discussing featured images, and applying artistic elements in their own artworks.
In unit 3, lesson 3.5 "On the Outside: Materials, Textures, and Patterns," a “Teach Through Inquiry” section guides educators with direct instruction that begins with activating prior knowledge. Students then examine and analyze four images using vocabulary in guided discussions before applying clay techniques of pattern and structure in their own clay relief artworks. Educator guidance includes direct instruction throughout the lesson components.
Evaluation for 4.1b
Each unit in the Teacher Edition contains a preassessment that assesses students’ prior knowledge on concepts and vocabulary present in that unit or previous units. “Introduce the Studio” directly instructs educators with guiding questions to activate previous learning and build content connections. Lesson 4.3 asks students to recall what they learned about emphasis in lesson 4.1 and center of interest in lesson 4.2. Guidance directs educators to remind students of lessons learned in previous courses on observational drawing and selecting interesting subjects such as animals for their artwork; for example, Explorations in Art, Grade 2, lesson 1.2 contains early instruction as the foundation of observational drawing using flowers as a subject, which demonstrates connections across courses.
Additionally, in unit 5, lesson 5.3, “A Cloth Tradition: Molas,” the section “Teach Through Inquiry” offers explicit guidance for introducing concepts in the framework of prior knowledge. For example, “Introduce the Studio” guidance encourages educators to help students make connections to what they’ve already learned by reminding them about designing with positive and negative spaces from lesson 5.1 and symmetry from lesson 5.2.
Evaluation for 4.1c
Lesson 2.7 introduces the vocabulary word caricature, providing opportunities for students to develop their understanding of and apply this visual arts vocabulary word through discussion, practice, and a studio project in which they create a caricature. A “Teach Through Inquiry” activity asks students to think about how cartoon characters sometimes act and dress like people. Then the lesson introduces the concept of caricature. Students engage with the word by looking at three images in “Explore the Images” and discuss what artists have exaggerated in each artwork. In “Studio Time,” students practice creating a caricature. At the close of the lesson, educators ask students questions about whether caricatures are funny or serious and to generalize the section of a newspaper in which one might find a caricature drawing, allowing the educator to informally assess students’ understanding of the vocabulary word.
Additionally, lesson 4.8, “Gifts from Nature: Form and Texture,” introduces vocabulary words with educator guidance. The “Teach Through Inquiry” section activates students’ prior knowledge of the words. Students engage with the words by analyzing and discussing four examples in “Explore the Images.” In “Studio Time,” students create a vessel using paper pulp, which engages them in application of the vocabulary words. In “Close,” guidance provides educators with questions. Educator guidance supports vocabulary throughout the lessons.
Evaluation for 4.1d
Materials include tasks and activities that require students to demonstrate artistic literacy aligned to TEKS. Lesson 2.9, “Zoetrope Toys: Moving Pictures,” opens with an explanation that students will learn how to make moving pictures. Educator guidance includes a review prompt of lessons 2.7 about animals and caricatures and 2.8 about making a flipbook to produce animation. Educators guide students with provided questions through “Explore the Images,” in which the class discusses artistic elements in artworks. Students then make sketches until they’re satisfied with a collection that depicts motion before assembling their flipbooks.
In the introduction for unit 3, “Presenting Places,” guided instruction leads students to imagine and reflect upon a special place, then infer how artists connect to places. Students engage in discussion using elements of art. In an educator-led discussion, students compare and contrast two artworks by Charles Sheeler in a Venn diagram format. The unit “Close” materials provide a “Quick Question Review” as a formative to check for understanding. At the unit conclusion, students work together to create a themed exhibition called “Presenting Places.” This variety of tasks and activities aligns with the grade-level TEKS as noted in the correlation chart.
Evaluation for 4.2a
Lesson 1.5, “Seeing Shadows and Light: Mixing Tints and Shades,” includes educator guidance to provide direct instruction in color theory and color-mixing skills at a developmentally appropriate level that aligns with the TEKS. This lesson gives educators step-by-step instructions to demonstrate the skill of mixing tints and shades for their students. It guides educators on how to demonstrate ways to observe changing values. Students learn the concept of value, watch their educator demonstrate creating tints and shades, then create their own works using those skills. This lesson directly relates to the grade-level TEKS to use appropriate vocabulary when discussing elements of art, and to create works using the elements of art.
Lesson 2.3, “Sculptures That Tell Stories: Clay Sculpture,” includes guidance for educators to provide direct instruction in creating forms with clay at a developmentally appropriate level aligned with the TEKS. The lesson gives educators direct step-by-step instructions for demonstration and provides guided question support.
Evaluation for 4.2b
Materials structure lessons into strands consisting of two introductory lessons followed by a “Studio Exploration” lesson designed to connect new discipline-specific artistic skills with prior learning. A “Teach Through Inquiry” activity includes an “Introduce the Studio” component that helps students make connections between previously learned concepts and new artistic skills introduced in the lesson. Lesson 2.9, “Zoetrope Toys: Moving Pictures,” asks students to recall what they learned about animals and caricature in lesson 2.7 and what they learned about creating a flipbook to produce animation in lesson 2.8.
In unit 6, lesson 6.2, “Using Materials Inventively: Sculpture,” the “Teach Through Inquiry” section supports educators in connecting current skills to prior learning with direct guidance to students: “This year, you’ve used many kinds of art materials. Can you name some of them? Today we’ll see how one artist has chosen some traditional art materials and used them in an imaginative way.” This introduction guides students through the process of using familiar materials to combine them in new ways. Additionally, at the end of this lesson, “Cumulative Application” guidance informs educators, “Students will apply these skills and concepts in the “Studio Exploration” on pages 158–161.”
Evaluation for 4.2c
“Studio Exploration” lessons include “Reflect and Present,” which provides students with opportunities to further develop discipline-specific artistic skills by exhibiting, sharing, or presenting their completed artworks as part of a reflective learning process. Unit reviews incorporate presentation-based tasks. Students also engage in “Portfolio Review, Reflection, and Presentation” activities that require them to exhibit and discuss artworks they have created throughout the unit.
“Teach Through Inquiry” sections offer opportunities for reflection and presentation; for example, in lesson 3.3, “A Place for Quiet Times: Unity, Variety, and Texture,” the educator displays students’ works and has them write a haiku to accompany their finished piece. Students present the work to their peers. “Portfolio Review, Reflection, and Presentation” materials guide educators on how to engage students in presenting their artistic works by directing them to select pieces that align with the unit’s core concepts and collaboratively create an exhibition titled “Nature’s Gifts.”
Evaluation for 4.2d
The materials organize lessons into six units and within each unit are three strands. Unit 1, strand 3 focuses on point of view and perspective. The lessons begin with less complex concepts and materials (point of view drawings of environments) and progress through observational drawing of nature and trees before culminating with students creating a bird’s-eye view painting using lines and shapes. These skills build on each other, preparing students for the skills needed for the final lesson.
Course lessons are organized into strands that include two introductory lessons followed by a “Studio Exploration.” Across the first two lessons, students develop and refine artistic skills through “Studio Time” activities. Across strands, units, and the overall course, studio activity skills increase in rigor and complexity, allowing for skill development as each strand builds on the progression by guiding students through a structured process to more advanced and complex activities. “Studio Exploration” steps support students throughout the cycle, including “Explore,” “Create,” “Reflect and Revise,” and “Reflect and Present.”
Evaluation for 4.2e
“Studio Exploration” includes “Reflect and Present,” which requires students to demonstrate mastery of artistic skills by exhibiting, sharing, and presenting their completed artworks as part of a reflective and evaluative process. In the “Portfolio Review, Reflection, and Presentation” section, students create a portfolio of selected artworks produced during the unit. Students select pieces 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 select one artwork to include in a final exhibition. The culminating experience is a gallery-style presentation in which students display their selected artwork and reflect on their art-making experiences.
Lesson 5.6, “A Story in Stitches: Embroidery,” also requires students to reflect on their work by identifying areas in which they excelled and struggled. Students present their work and have an opportunity to tell or write about what they feel is most effective about their art. These activities require students to demonstrate mastery in artistic skills through exhibiting and presenting artistic works created throughout the unit.
Evaluation for 4.3a
The course materials provide opportunities for students to explore artmaking using a variety of materials, as evidenced in the “Art Materials and Supplies” list in the table of contents. Students can use pencils, crayons, markers, colored pencils, oil pastels, chalk, watercolor, styrofoam, printing ink, clay, modeling clay, wire, acrylic paint, assorted papers and cardboards, wallpaper sample books, cloth, twigs, sticks, and other natural materials, fabric, yarn, ribbons, and an assorted variety of found objects. To support a variety of styles, “Teaching About Styles, Periods, and World Cultures” enables students to examine art through the lens of history. Genres in this text include still life, pop art, and traditional Japanese art forms such as ukiyo-e, among others.
Lesson 3.3 guides educators in leading students to create a three-dimensional model of an outdoor space. Using pencil and paper, students design and sketch their location, giving thought to lines and textures. The “Assess” section notes that students complete their models with “a variety of natural materials and real textures” as evaluation criteria. The in-lesson materials list instructs educators to provide cardboard box lids, sand, pebbles, twigs, acorns, bark, moss, small plastic bags, plastic forks, wrapping paper, and tempera paints for the lesson.
Evaluation for 4.3b
The Teacher Edition includes opportunities for students to create their own work, adapt, or extend artworks for performance. Each “Studio Exploration” contains an “Inspiration From Art” section that allows students to explore paintings, photos, sculptures, and other types of art, before creating their own using elements from the pictured artworks to guide the extension and individualization of their artworks. For example, lesson 1.6, “Seeing Cities: Foreground and Background,” provides three different images and teacher guidance to “Remind students of the choices they will need to make,” before offering seven questions or directives to guide student work while allowing them to develop and extend their own.
In lesson 5.7 "A Puppet Tradition: Storytelling and Puppets," students create a shadow puppet. Educator guidance includes the “Cumulative Application” directive “Students will apply these skills and concepts in the ‘Studio Exploration’” on following pages. In the following lesson, students create their own paper masks with the same directive that these will be part of a cumulative application. In the third successive lesson, “Celebration Traditions: Papier-Mâché Masks,” students draw from the first two projects. Guidance encourages students to make drawings so they can extend or adapt their original ideas before creating their papier-mâché masks.
Evaluation for 4.3c
Unit 1, lesson 1.7’s “Teach Through Inquiry” supports educators with introducing new concepts in a way that encourages student choice. “Studio Time” lets students choose to draw a natural or human-made environment. Students determine whether they will portray their environment “from a distance, from close up, or looking up or down at the scene.”
Guidance in lesson 3.3, “A Place for Quiet Times: Unity, Variety, and Texture,” helps educators introduce concepts in a way that encourages student agency in art. In “Introduce the Studio” and “Studio Exploration,” student agency determines artistic outcomes. Guidance informs educators to encourage students to look for ideas in the provided images of Japanese gardens, but also beyond these images to explore and collect “a variety of materials with interesting textures” they might use, considering such things as “stones, small pieces of wood, twigs, pebbles, acorns, and moss.” Students design a vacant lot or quiet space, then choose to depict the area as it exists or imagine a new design, using their preferred materials and techniques. These opportunities support students in making intentional artistic decisions and organizing personal 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
In unit 3, lesson 3.5 "On the Outside: Materials, Textures, and Patterns," a “Teach Through Inquiry” section guides educators with direct instruction that begins with activating prior knowledge. Students then examine and analyze four images using vocabulary in guided discussions before applying clay techniques of pattern and structure in their own clay relief artworks. Educator guidance includes direct instruction throughout the lesson components.
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
Additionally, in unit 5, lesson 5.3, “A Cloth Tradition: Molas,” the section “Teach Through Inquiry” offers explicit guidance for introducing concepts in the framework of prior knowledge. For example, “Introduce the Studio” guidance encourages educators to help students make connections to what they’ve already learned by reminding them about designing with positive and negative spaces from lesson 5.1 and symmetry from lesson 5.2.
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, lesson 4.8, “Gifts from Nature: Form and Texture,” introduces vocabulary words with educator guidance. The “Teach Through Inquiry” section activates students’ prior knowledge of the words. Students engage with the words by analyzing and discussing four examples in “Explore the Images.” In “Studio Time,” students create a vessel using paper pulp, which engages them in application of the vocabulary words. In “Close,” guidance provides educators with questions. Educator guidance supports vocabulary throughout the lessons.
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
In the introduction for unit 3, “Presenting Places,” guided instruction leads students to imagine and reflect upon a special place, then infer how artists connect to places. Students engage in discussion using elements of art. In an educator-led discussion, students compare and contrast two artworks by Charles Sheeler in a Venn diagram format. The unit “Close” materials provide a “Quick Question Review” as a formative to check for understanding. At the unit conclusion, students work together to create a themed exhibition called “Presenting Places.” This variety of tasks and activities aligns with the grade-level TEKS as noted in the correlation chart.
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
Lesson 2.3, “Sculptures That Tell Stories: Clay Sculpture,” includes guidance for educators to provide direct instruction in creating forms with clay at a developmentally appropriate level aligned with the TEKS. The lesson gives educators direct step-by-step instructions for demonstration and provides guided question support.
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
In unit 6, lesson 6.2, “Using Materials Inventively: Sculpture,” the “Teach Through Inquiry” section supports educators in connecting current skills to prior learning with direct guidance to students: “This year, you’ve used many kinds of art materials. Can you name some of them? Today we’ll see how one artist has chosen some traditional art materials and used them in an imaginative way.” This introduction guides students through the process of using familiar materials to combine them in new ways. Additionally, at the end of this lesson, “Cumulative Application” guidance informs educators, “Students will apply these skills and concepts in the “Studio Exploration” on pages 158–161.”
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
“Teach Through Inquiry” sections offer opportunities for reflection and presentation; for example, in lesson 3.3, “A Place for Quiet Times: Unity, Variety, and Texture,” the educator displays students’ works and has them write a haiku to accompany their finished piece. Students present the work to their peers. “Portfolio Review, Reflection, and Presentation” materials guide educators on how to engage students in presenting their artistic works by directing them to select pieces that align with the unit’s core concepts and collaboratively create an exhibition titled “Nature’s Gifts.”
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
Course lessons are organized into strands that include two introductory lessons followed by a “Studio Exploration.” Across the first two lessons, students develop and refine artistic skills through “Studio Time” activities. Across strands, units, and the overall course, studio activity skills increase in rigor and complexity, allowing for skill development as each strand builds on the progression by guiding students through a structured process to more advanced and complex activities. “Studio Exploration” steps support students throughout the cycle, including “Explore,” “Create,” “Reflect and Revise,” and “Reflect and Present.”
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
Lesson 5.6, “A Story in Stitches: Embroidery,” also requires students to reflect on their work by identifying areas in which they excelled and struggled. Students present their work and have an opportunity to tell or write about what they feel is most effective about their art. These activities require students to demonstrate mastery in artistic skills through exhibiting and presenting artistic works created throughout the unit.
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
Lesson 3.3 guides educators in leading students to create a three-dimensional model of an outdoor space. Using pencil and paper, students design and sketch their location, giving thought to lines and textures. The “Assess” section notes that students complete their models with “a variety of natural materials and real textures” as evaluation criteria. The in-lesson materials list instructs educators to provide cardboard box lids, sand, pebbles, twigs, acorns, bark, moss, small plastic bags, plastic forks, wrapping paper, and tempera paints for the lesson.
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 lesson 5.7 "A Puppet Tradition: Storytelling and Puppets," students create a shadow puppet. Educator guidance includes the “Cumulative Application” directive “Students will apply these skills and concepts in the ‘Studio Exploration’” on following pages. In the following lesson, students create their own paper masks with the same directive that these will be part of a cumulative application. In the third successive lesson, “Celebration Traditions: Papier-Mâché Masks,” students draw from the first two projects. Guidance encourages students to make drawings so they can extend or adapt their original ideas before creating their papier-mâché masks.
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
Guidance in lesson 3.3, “A Place for Quiet Times: Unity, Variety, and Texture,” helps educators introduce concepts in a way that encourages student agency in art. In “Introduce the Studio” and “Studio Exploration,” student agency determines artistic outcomes. Guidance informs educators to encourage students to look for ideas in the provided images of Japanese gardens, but also beyond these images to explore and collect “a variety of materials with interesting textures” they might use, considering such things as “stones, small pieces of wood, twigs, pebbles, acorns, and moss.” Students design a vacant lot or quiet space, then choose to depict the area as it exists or imagine a new design, using their preferred materials and techniques. These opportunities support students in making intentional artistic decisions and organizing personal 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
Each lesson in Explorations in Art includes an “Explore the Images” section, which provides educator guidance to help students view, interpret, and respond to artworks directly related to the lesson objectives and the TEKS. Additionally, “Guiding Response to Art” promotes the philosophy of developing artistic literacy through critique of other artworks. Educators apply these principles to guide children’s interpretation, analysis, and evaluation. The methodical approach includes instruction to teach students to describe what they see and examine how it is organized. Guidance also encourages students to speculate as to what the artist might be saying. Lastly, educators inform students that evaluation compares to any other logical process and moves beyond “I like it” by reviewing established criteria and citing evidence from the artwork. The approach provides guidance to educators to support students through the journey.
The materials provide guidance to teach students to interpret, evaluate, and respond to others’ artworks. For example, unit 3, lesson 3.5 "On the Outside: Materials, Textures, and Patterns" provides an “Explore the Images” section that provides educator guidance to lead student analysis of Westminster Cathedral’s and the United States Embassy’s architectural designs and ensure that students explain what they see and how it is organized according to expectations. Students investigate how materials and design choices create unique effects and cite evidence using the elements of art. Developing these skills supports art literacy and aligns with the TEKS expectations for interpreting, evaluating, and discussing historical and contemporary artworks.
Evaluation for 5.1b
The Unit 4 review “Teach Through Inquiry” explicitly guides educators through the analysis protocol of “describe, analyze, interpret, and evaluate.” The vocabulary words used in the unit’s evaluation criteria are emphasis, center of interest, main and smaller shapes, color schemes, line qualities, form, and texture. The unit performance tasks engage students in the evaluative process using unit vocabulary to discuss artworks and justify their responses.
Additionally, the “Studio Exploration” rubrics establish criteria for discipline-specific vocabulary and provide educator guidance to support vocabulary usage and development in the evaluation. The evidence for the first two objectives includes discussion and review of concepts, and critical looking and responding. In order to achieve the proficiency 4 level, students discuss artworks with “vivid, descriptive, and insightful interpretive or evaluative language, as appropriate” and cite evidence based upon the elements of art.
Evaluation for 5.1c
In unit 1, lesson 1.3, students follow the four-step “Art Criticism” protocol to describe what they observe, analyze how the artist arranges visual elements, and interpret the visual evidence to consider artistic intent. Finally students evaluate the artwork and its context to develop an evidence-based interpretation of how effectively the artists express intended themes. This sequence increases in complexity as guidance specifically states that students use learning from 1.1 in which they compare and contrast qualities of contour lines, and 1.2 in which students demonstrate poses and proportion.
In the unit 6 review, students again follow the “Art Criticism” protocol to examine works by Dorothea Rockburne and Jackie Ferrara. Students engage in an activity and communicate their observations in a museum postcard essay. The artistic concepts discussed in the unit include formal elements such as light and shadow, exaggeration and distortion, shapes, lines, and colors; and genres, such as still life, non-objective art, and pop art, which demonstrate increased rigor from unit 1’s focus on formal elements such as sketching, line, and movement. Students also engage in “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
“Studio Exploration” lessons in the Teacher Edition contain educator guidance to provide students with instruction on giving and receiving feedback. “Studio Explorations” include unit-end “Reflect and Present” activities that “encourage students to consider their work-in-progress alone or with another student by addressing the questions listed.” The questions guide students to think about lesson concepts and determine if they have met the required criteria. “Reflect and Present” provides guidance by having students reflect on their own work before displaying it and providing feedback for their peers. The lesson 1.6 “Seeing Cities: Foreground and Background” materials provide explicit guidance for facilitating peer feedback using structured criteria in “Reflect and Revise” and in “Reflect and Present,” in which students consider whether the artist effectively used techniques such as overlapping shapes and a range of values; identify strengths and areas for improvement; and share with classmates how they created a sense of space through the use of foreground, middle ground, and background.
Additionally, the Teacher Edition includes “Guiding Responses to Art,” which 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” does not constitute critical evaluation. Educators state the criteria that should be applied, and students give specific examples of how the artwork does or does not meet the criteria, so the process is logical, evidence-based examination rather than preference. Students refer to the evaluation criteria listed for each studio when evaluating their own and each other’s artworks.
Evaluation for 5.2b
The Teacher Edition includes multiple opportunities for students to give feedback on other students’ artwork. Lesson 2.6 provides explicit guidance to prepare students to give peer feedback. The “Art Criticism” protocol guides educators to have students analyze the artwork of their classmates, identify strengths and areas for growth by discussing whether the artwork effectively communicates humor, and represents the chosen idiom. Students then participate in peer critiques led through guided questions.The educator guidance models a structured feedback process that helps students analyze artwork and apply feedback to strengthen future work, supporting the TEKS expectations for evaluating and responding to personal and peer-created artworks.
Additionally, the materials offer a step-by-step process for educators to introduce peer discussion and feedback in “Portfolio Review, Reflection, and Presentation. Students select their favorite artworks created in unit 2 that align with the Big Idea. Students share feedback with each other on why they chose those specific pieces. Students partner for pair interviews to talk about their artwork, reflect on the choices they made while creating it, and think about what kind of art they want to make next. The educator facilitates whole-class effort to curate an exhibition based on the unit title. The review process allows the educator to watch, listen, and provide suggestions while the students reflect, learn, collaborate, and trade feedback with their peers about the pieces they made during the unit.
Evaluation for 5.2c
Lesson 3.6’s “Reflect and Revise” and “Reflect and Present” offer students opportunities to receive peer feedback on their three-dimensional room designs. The text suggests that students consider the expectations and purpose of their project with another student before they finalize their models. As students complete their projects, they meet with their peers to reflect upon the process and decide together how to best display their work.
Students receive educator feedback in lesson 4.9, “Containers from the Earth: Coil Method.” Lessons include “Assess” with criteria for each project, which provides points in multiple categories for students to receive educator feedback. During “Studio Time,” educators pause to provide feedback throughout the creative process.
Evaluation for 5.2d
Lesson 5.9, “Celebration Traditions: Papier-Mâché Masks,” provides opportunities for educators to offer student feedback to refine their artworks. For example, “Studio Exploration” guides educators to tell students to experiment with different paper techniques, make thoughtful design decisions about whether their mask represents a person or an animal, and develop features accordingly. Additionally, “Assess” provides project criteria before the educator assigns the project, and the assessment rubric gives educators and students a structured framework for developing, refining, and evaluating student work.
Additionally, “Introducing Media and Techniques” in the Teacher Edition provides guidance to help students use different media and refine their artistic skills. For example, materials suggest combining chalk or oil pastel with tempera, allowing the paint to dry before adding details with oil pastels or chalk.
Evaluation for 5.2e
“Teach Through Inquiry” sections advise students to reflect during the “Reflect and Revise” section and at the completion of their projects during “Reflect and Present.” The text offers guiding questions for students to help them refine their skills and projects. Lesson 1.3, in which students create a figurative wire sculpture, and “Reflect and Revise” ask, “Are you pleased with the action and pose of your sculpture?” “Did you twist your wire to make your sculpture sturdy?” and “Do the proportions look correct?” “Reflect” prompts students to consider making another sculpture and integrating changes.
Additionally, in lesson 6.3, “Dumpster Dragons: Assemblage,” students reflect before finishing their project during “Reflect and Revise” and at the completion of their projects in “Reflect and Present.” Guiding “Revise” questions such as “Are you pleased with the way you combined different objects?”, “Did you attach all parts firmly?”, and “Did you make colorful choices and details?” prompt them to further refine their projects and hone their skills.
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
The materials provide guidance to teach students to interpret, evaluate, and respond to others’ artworks. For example, unit 3, lesson 3.5 "On the Outside: Materials, Textures, and Patterns" provides an “Explore the Images” section that provides educator guidance to lead student analysis of Westminster Cathedral’s and the United States Embassy’s architectural designs and ensure that students explain what they see and how it is organized according to expectations. Students investigate how materials and design choices create unique effects and cite evidence using the elements of art. Developing these skills supports art literacy and aligns with the TEKS expectations for interpreting, evaluating, and discussing historical and contemporary artworks.
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
Additionally, the “Studio Exploration” rubrics establish criteria for discipline-specific vocabulary and provide educator guidance to support vocabulary usage and development in the evaluation. The evidence for the first two objectives includes discussion and review of concepts, and critical looking and responding. In order to achieve the proficiency 4 level, students discuss artworks with “vivid, descriptive, and insightful interpretive or evaluative language, as appropriate” and cite evidence based upon the elements of art.
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
In the unit 6 review, students again follow the “Art Criticism” protocol to examine works by Dorothea Rockburne and Jackie Ferrara. Students engage in an activity and communicate their observations in a museum postcard essay. The artistic concepts discussed in the unit include formal elements such as light and shadow, exaggeration and distortion, shapes, lines, and colors; and genres, such as still life, non-objective art, and pop art, which demonstrate increased rigor from unit 1’s focus on formal elements such as sketching, line, and movement. Students also engage in “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
Additionally, the Teacher Edition includes “Guiding Responses to Art,” which 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” does not constitute critical evaluation. Educators state the criteria that should be applied, and students give specific examples of how the artwork does or does not meet the criteria, so the process is logical, evidence-based examination rather than preference. Students refer to the evaluation criteria listed for each studio when evaluating their own and each other’s artworks.
5.2b
Materials provide opportunities for students to give feedback on discipline-specific artistic works created by other students.
Materials provide opportunities for students to give feedback on discipline-specific artistic works created by other students.
1 out of 1 points
Evaluation for 5.2b
Evaluation for 5.2b
Materials provide opportunities for students to give feedback on discipline-specific artistic works created by other students.
1 out of 1 points
Additionally, the materials offer a step-by-step process for educators to introduce peer discussion and feedback in “Portfolio Review, Reflection, and Presentation. Students select their favorite artworks created in unit 2 that align with the Big Idea. Students share feedback with each other on why they chose those specific pieces. Students partner for pair interviews to talk about their artwork, reflect on the choices they made while creating it, and think about what kind of art they want to make next. The educator facilitates whole-class effort to curate an exhibition based on the unit title. The review process allows the educator to watch, listen, and provide suggestions while the students reflect, learn, collaborate, and trade feedback with their peers about the pieces they made during the unit.
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
Students receive educator feedback in lesson 4.9, “Containers from the Earth: Coil Method.” Lessons include “Assess” with criteria for each project, which provides points in multiple categories for students to receive educator feedback. During “Studio Time,” educators pause to provide feedback throughout the creative process.
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, “Introducing Media and Techniques” in the Teacher Edition provides guidance to help students use different media and refine their artistic skills. For example, materials suggest combining chalk or oil pastel with tempera, allowing the paint to dry before adding details with oil pastels or chalk.
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 lesson 6.3, “Dumpster Dragons: Assemblage,” students reflect before finishing their project during “Reflect and Revise” and at the completion of their projects in “Reflect and Present.” Guiding “Revise” questions such as “Are you pleased with the way you combined different objects?”, “Did you attach all parts firmly?”, and “Did you make colorful choices and details?” prompt them to further refine their projects and hone their skills.
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 Teacher Edition includes opportunities for educators to provide cross-curricular and cross-disciplinary connections to other fine art disciplines. For example, lesson 5.7 "A Puppet Tradition: Storytelling and Puppets" provides a fine arts connection to music by discussing an Indonesian gamelan orchestra and puppet show. Educators can make a language arts connection by guiding students to create a dialogue for a short scene using the shadow puppets they create. Sidebars “Connections Across the Arts: Music,” “Connections Across the Arts: Theater,” and “Language Art Connections” support educators in making cross-disciplinary and cross-curricular connections.
Additionally, materials provide a STEAM unit planning document across fields such as science, technology, engineering, arts, and math. “Art in the Total Curriculum” also provides educators with guidance and activities to link art to other subjects; for example, in the “Social Studies” section, educators learn to acquaint students with artistic traditions of the cultural groups represented in their school and community or to conduct research projects on the cultural and artistic legacy of people who lived in their community or region long ago.
Evaluation for 6.1b
In unit 3, lesson 3.1, “Picturing Open Spaces: Line, Shape, and Space,” educators play Edvard Grieg’s Peer Gynt Suite No. 1, op. 46, “Morning Mood” for students during “Connections Across the Arts.” Students learn that the composer lived in Norway and wrote the music because it reminded him of the Norwegian countryside. In this context, students then describe the land they imagine. In addition to this activity, this lesson provides other student activities in the “Reading Comprehension” sidebar, in which students engage in a “Visualize” activity, and “Language Arts,” in which students identify and label spatial elements of an image.
Additionally, unit 5’s “STEAM: Focus on Math” includes student opportunities to engage in cross-disciplinary and cross-curricular activities. Students examine how fiber artist Billie Ruth Sudduth integrated mathematical concepts from the Fibonacci sequence to Mandelbrot fractals to design the spiraling geometric patterns in her basketry. Students then create their own patterned designs following this mathematical sequence. Students investigate how mathematical patterns appear in natural sunflowers, pinecones and sea shells.
Evaluation for 6.2a
“Teaching Art with a Global Perspective” and “Teaching About Styles, Periods, and World Cultures” examine the philosophical approach to art instruction to guide educators. These guiding documents provide an overview of 15 styles of art and their corresponding eras. The text states, “Although style terms have been invented for many traditions of art around the world, students are most likely to encounter style terms associated with historical periods in Europe and North America.” Further guidance informs educators that “Other commonly used style and historical terms are defined in the Glossary of the Teacher’s Edition.” The materials present a variety of historical and cultural art selections from around the globe and provide educators with historical context to guide student learning.
Lesson 5.3, “A Cloth Tradition: Molas,” provides educator guidance to explain the traditions of the Kuna people of Panama and their textiles, including traditional mola blouses. Educators explain the cultural significance of molas and the application techniques used to make them. Students make connections to geography by researching the Kuna culture. Materials provide support in “Introduce the Studio” and geography sidebars.
Evaluation for 6.2b
In lesson 3.3, students explore images of Japanese gardens, learn about two Japanese landscape architects, and locate Japan on a world map. The unit 2 STEAM lesson “Consider Hybrids When Creating Art” provides students the opportunity to learn about Saya Woolfalk, a contemporary artist, and explore her work that is influenced by her multicultural background, including Japanese, African American, and European American heritage. They consider cultural perspectives through exploration of her installations ChimaTEK Life Products and Virtual Chimeric Space. These activities support students to understand a variety of cultural and modern artworks, and they directly align with the TEKS requirement for students to analyze and respond to artworks from different cultures and time periods.
Materials provide students with opportunities to study various artworks in historical and cultural contexts. In unit 3, lesson 3.4, students learn that mosaics have been used to record history, share religious stories, and decorate spaces for centuries. Students learn that Christians used mosaics for storytelling and that Muslims likewise used mosaics, noting that animals and people aren’t allowed to be depicted—only naturalistic elements or geometric patterns. Students analyze artworks of historical significance in the Mausoleum of Galla Placidia (UNESCO World Heritage Site), Mosaic of Menorah with Lulav and Ethroq, and Masada transformed during the reign of Herod the Great (UNESCO World Heritage Site).
Evaluation for 6.2c
Materials include a variety of activities and tasks designed to develop student understanding of art from different periods and cultures in alignment with the course TEKS. For example, in lesson 3.8, “Buildings That Matter: Preserving Special Buildings,” students explore images of the Taj Mahal in India, the Golden Pavilion in Japan, and St. Basil’s Cathedral in Russia. They answer questions about memorial buildings and discuss the influence of religion on architecture in “History Connection” before drawing a landmark from their community.
Additionally, in the unit 5 introduction, students engage in conversation about traditions and compare and contrast images of Helen Hardin that include Native American symbols while discussing how symbols honor traditions. Historical context in “About the Artist” supports the lesson. These activities correlate to strand 3 in the Grade 4 art TEKS on historical and cultural relevance.
6.1 Cross-Curricular Connections
6.1a
Materials include guidance for teachers to provide explicit (direct) instruction on cross-curricular connections within and across the fine arts disciplines and between fine arts and core academic subjects (e.g., literacy, math, social studies, science) as applicable.
Materials include guidance for teachers to provide explicit (direct) instruction on cross-curricular connections within and across the fine arts disciplines and between fine arts and core academic subjects (e.g., literacy, math, social studies, science) as applicable.
1 out of 1 points
Evaluation for 6.1a
Evaluation for 6.1a
Materials include guidance for teachers to provide explicit (direct) instruction on cross-curricular connections within and across the fine arts disciplines and between fine arts and core academic subjects (e.g., literacy, math, social studies, science) as applicable.
1 out of 1 points
Additionally, materials provide a STEAM unit planning document across fields such as science, technology, engineering, arts, and math. “Art in the Total Curriculum” also provides educators with guidance and activities to link art to other subjects; for example, in the “Social Studies” section, educators learn to acquaint students with artistic traditions of the cultural groups represented in their school and community or to conduct research projects on the cultural and artistic legacy of people who lived in their community or region long ago.
6.1b
Materials provide opportunities for students to explore cross-curricular connections within and across the various fine art disciplines and between fine arts and core academic subjects (e.g., literacy, math, social studies, science) as applicable.
Materials provide opportunities for students to explore cross-curricular connections within and across the various fine art disciplines and between fine arts and core academic subjects (e.g., literacy, math, social studies, science) as applicable.
1 out of 1 points
Evaluation for 6.1b
Evaluation for 6.1b
Materials provide opportunities for students to explore cross-curricular connections within and across the various fine art disciplines and between fine arts and core academic subjects (e.g., literacy, math, social studies, science) as applicable.
1 out of 1 points
Additionally, unit 5’s “STEAM: Focus on Math” includes student opportunities to engage in cross-disciplinary and cross-curricular activities. Students examine how fiber artist Billie Ruth Sudduth integrated mathematical concepts from the Fibonacci sequence to Mandelbrot fractals to design the spiraling geometric patterns in her basketry. Students then create their own patterned designs following this mathematical sequence. Students investigate how mathematical patterns appear in natural sunflowers, pinecones and sea shells.
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
Lesson 5.3, “A Cloth Tradition: Molas,” provides educator guidance to explain the traditions of the Kuna people of Panama and their textiles, including traditional mola blouses. Educators explain the cultural significance of molas and the application techniques used to make them. Students make connections to geography by researching the Kuna culture. Materials provide support in “Introduce the Studio” and geography sidebars.
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
Materials provide students with opportunities to study various artworks in historical and cultural contexts. In unit 3, lesson 3.4, students learn that mosaics have been used to record history, share religious stories, and decorate spaces for centuries. Students learn that Christians used mosaics for storytelling and that Muslims likewise used mosaics, noting that animals and people aren’t allowed to be depicted—only naturalistic elements or geometric patterns. Students analyze artworks of historical significance in the Mausoleum of Galla Placidia (UNESCO World Heritage Site), Mosaic of Menorah with Lulav and Ethroq, and Masada transformed during the reign of Herod the Great (UNESCO World Heritage Site).
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, in the unit 5 introduction, students engage in conversation about traditions and compare and contrast images of Helen Hardin that include Native American symbols while discussing how symbols honor traditions. Historical context in “About the Artist” supports the lesson. These activities correlate to strand 3 in the Grade 4 art TEKS on historical and cultural relevance.