Explorations in Art, Grade 5 Texas Edition

Evaluation for 1.1a
Materials include a scope and sequence outlining the TEKS, ELPS, and concepts taught in the course.

The Explorations in Art, Grade 5 scope and sequence identifies concepts of the program, student learning objectives, the strand of each objective, and where and when lessons explore concepts. For example, in lesson 1.3, the “Introduce the Studio” section guides educators to have students think about who people are and how they are all connected to each other, and that artists can show these interconnections by sharing about people’s lives, hopes, and dreams, which aligns with grade-level TEKS 5.2A.

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 4.2 identifies strands 1 and 3 student learning objectives: “Understand that some art materials and techniques produce unique effects, describe technical features, such as fluid, transparent paint, and interpret the mood suggested in artworks about nature, and create a watercolor painting to meet studio evaluation criteria.”

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).

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 suggested pacing options: one for a traditional school year with daily lessons, one for a semester of daily lessons, a full year with weekly classes with instruction in all units, and a full year with weekly classes with instruction from two units. The scope and sequence shows which lessons, studio experiences, and assessments to complete for each unit to follow each proposed schedule.

Furthermore, the scope and sequence includes suggested pacing for rotational schedules for individual and multiple 30–90 minute classes per lesson. Each unit provides a pacing guide with lesson topics and recommendations for the amount of time needed to cover lessons per day or week as a whole. For example, the pacing calendar denotes lesson 2.5, “A Tradition of Weaving: Materials and Techniques,” as a 45-minute lesson, which can be extended with additional cross-curricular connections in geography and music. 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
Materials include an explanation for the rationale of unit order as well as how concepts to be learned connect throughout the course.

The “Program Overview” explains the overall design and instructional approach of the curriculum, highlighting the grounding philosophy, program features, and the structure. For example, the overview states, “The sequence of lessons within each level has been carefully planned to accommodate the interests, skills, and abilities of students,” and explains that the 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.

The program philosophy states that in art, “We seek to help students understand the enduring ideas about art and human experience through investigations, interpretation of artworks, artmaking and response, and cultural understanding, which are all introduced in each unit Opener as Big Ideas, essential questions, objectives and an introduction. These components provide educators with the necessary 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
Materials include protocols with corresponding guidance for unit and lesson internalization.

The downloadable PDF lesson plans include all lesson plans from the program and provide protocols that support lesson internalization through detailed instructional guidance. For example, unit two lesson 2.6, “A Tradition of Yarn Painting: Pattern, Color, and Composition,” includes a pacing recommendation of two 45-minute periods and the essential question, "What can the past teach us?” and the Big Idea "Thinking and working as artists and designers, we can honor and interpret cultural traditions." 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, comprehensive, downloadable PDF course lesson plans provide protocols that 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 opportunities for guided practice, 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. In addition, embedded “Differentiated Instruction” supports help educators plan for diverse learning needs during lesson preparation.

Evaluation for 1.1e
Materials include resources and guidance for instructional leaders to support teachers with implementing the materials as designed.

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, allowing instructional leaders to support lesson planning, resource allocation, and instructional monitoring. The “Planning Guide” demonstrates how learning progresses throughout the unit while integrating learning across other content areas. This structured overview provides implementation guidance and supports lesson delivery of course materials.

In addition, “Visual Literacy” in the “Reference” section of the Teacher Edition outlines teaching techniques for teaching visual literacy in the program. The “Reference” section also provides supports for “The Place of Art in STEAM,” “Choice in the Elementary Art Room,” “Using a Research Journal in the Art Room,” “Design Thinking for Visual Art Teachers,” and “Differentiated Instruction.”

Lastly, on the Davis Digital website, instructional leaders and educators can access the “Help” tab, which offers support videos for many aspects of the program, at varying 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 teaching art online and portfolio support.

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.

Unit “Planning Guides” include the unit theme, lesson strands, lesson topics, suggested pacing, artworks, studio topics, vocabulary, materials, and cross-curricular connections. For example, unit 1, lesson 1.2 explores the concepts of value and shading, and the lesson includes the vocabulary words sketch, study, and value. Glossaries define academic language in the Teacher and Student Editions. The “Resource Guide” includes full-color art room reference sheets on various discipline-specific topics that support educator and student background knowledge, including vocabulary.

Additionally, the “Planning Guide” for unit 2, “Our Artistic Heritage,” 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. This guide supports educators by building their content knowledge to use throughout the unit. In lesson 3.1, “Surprising Images: Photomontage,” the “About the Artist” inset features biographical information about multidisciplinary artist Herbert Bayer, whose works are discussed to support educators’ background knowledge of unit concepts.

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.

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 families can use to support the progress of their students. Unit 3 tips suggest, “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.

Furthermore, in the Davis Digital version of the student book, families can use the “Enable Translation” button to translate website contents and course texts into several languages, including Spanish, giving adults and students access to all instructional tools.

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).

The Teacher Edition includes comprehensive, structured, and detailed lesson plans that support educators in meeting content and language standards aligned with the TEKS. Every lesson includes lesson objectives and identifies the TEKS correlations. The downloadable PDF lesson plans include protocols that support lesson internalization in a clear and structured way. The “Prepare” section of each lesson includes the daily objectives along with the TEKS correlations, helping the educator maintain focus and meet the lesson’s content standards.

Additionally, lesson plans 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 ask students to compare color relationships in provided images. Learning tasks in the “Create” section engage in studio exploration through still-life painting. Lastly, the lesson “Close” includes a check for understanding in which educators quiz students on complementary colors.

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.

Individual unit plans highlight materials needed for lesson delivery in an organized chart that lists educator and student materials, including supporting media resources listed by title and artist. Additionally, the Davis Digital website contains a database of 20,000 high-quality art images searchable by lesson, artwork, medium, and element, which educators can tag for future retrieval. Educators create their own slide presentations, which are shareable across multiple student platforms for digital or asynchronous learning. Each unit planning guide lists the student materials for each lesson. For example, the first lesson in unit one, students will use white paper, soft drawing pencils, crayons, markers, and oil pastels. The planning guide gives the artworks students will examine for each lesson.

In addition to educator and student materials, the materials include several documents that offer pacing suggestions. The unit “Planning Guide” paces on the lesson level with suggestions for total completion time. The scope and sequence includes pacing suggestions based on particular schedules. The daily lesson plans include the lesson completion time 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
Materials include guidance on the effective use of lesson materials for extended practice (e.g., homework, extension, enrichment).

The guidance for extended practice supports students in developing and extending artistic knowledge and skills beyond the classroom. Lesson 3.2’s “Aesthetic Awareness” sidebar extends student learning by prompting, “This week, use your imagination as you look around your world. Think about creative ways to show a person or an object.” “Aesthetic Awareness” and “Research Journal” activities emphasize the development of perceptual and critical evaluation as art skills, as students observe and respond to art in their everyday environments.

Additionally, the “Connections Across the Arts” section recommends cross-curricular connections that integrate art with other content areas.

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.

The “Teach Through Inquiry” section includes diagnostic assessments that preteach unit concepts via oral questions. In lesson 2.3, “Art Comes from Art: Creating a Still Life,” for example, educators ask, “What art style do you see in this painting?” Student responses indicate which students might already be familiar with the artistic concept and which may need support through the unit.

Lesson 2.3 materials also include formative options that vary by task. For example, students create an original still life that meets provided studio evaluation criteria. In the “Assess” box, the materials include three criteria for the still life to demonstrate a student’s conceptual understanding. The four-point proficiency rubric scores assessments on lesson and unit levels.

Lastly, each unit includes a review with various performance tasks to show mastery. The unit 1 summative assessments offer multiple options, such as a match-the-picture task covering artworks learned in the unit. Students consider Charles White’s drawing Harvest Talk and write a haiku about what the two men in the image seem to be doing. Students participate in open discussion with provided sentence stems and 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
Materials include the definition and intended purpose for the types of instructional assessments included.

The “Strategies for Assessment” section of the Teacher Edition defines the types of assessments and explains the intended purposes of each assessment type in the materials. Diagnostics are provided as preassessment downloads. The 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 outlines and defines the intended purpose of art criticism questions and assessment criteria used for formatives and summatives. For example, as a summative, students analyze an artwork by Elizabeth Catlett, describing visual details and mood. Each lesson provides a four-point proficiency scale to support the summative evaluation of student understanding.

Evaluation for 2.1c
Materials include teacher guidance to ensure consistent and accurate administration of instructional assessments.

Each lesson includes an “Assessment” section that provides a four-point proficiency scale to support the evaluation of student understanding and completed artwork. Because each performance level is objectively described, the rubric serves as a guide for evaluating student work consistently. It supports educators in determining the precise level of achievement for each student, reduces subjectivity in scoring, and provides information about student progress. The 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 using a four-point proficiency scale.

Evaluation for 2.1d
Diagnostic, formative, and summative assessments are aligned to the TEKS and objectives of the course, unit, or lesson.

The assessment rubric provides performance descriptors that guide educator decision-making and support consistent evaluation of student learning. Throughout the course, the instructional materials include diagnostic, formative, and summative assessment opportunities aligned to the TEKS and objectives. The grade-level TEKS center on elements of art, creative expression, cultural relevance, and critical evaluation, which support lessons in the course. All assessments in the materials text engage the student in active, hands-on skills development or oral discussion, both of which are supported by the TEKS. The materials provide TEKS alignment for each lesson.

In lesson 4.3, “Natural Expressions: Close-up Views,” the studio evaluation criteria align with lesson objectives and the TEKS as a summative assessment. Through discussion and observation, students explore mood in nature. Students then create a watercolor applying artistic elements. The rubric guides educators’ analysis of applied elements, which represents alignment on the TEKS correlations chart. This lesson supports the grade-level TEKS by incorporating the strands of art elements, creative expression, and critical evaluation.

Evaluation for 2.1e
Instructional assessments include TEKS-aligned items at varying levels of complexity.

Assessments include matching artistic concepts with artworks; engaging in discussions; and providing oral responses to questions, including true or false and open-ended items. Students engage in tasks that require performance skills, written responses, vocabulary recall to question prompts, and correct vocabulary use in classroom discussion. Students engage in personal reflection and evaluation of artwork and art critique based upon the elements of art and a provided critique protocol. Students generalize the meanings of abstraction concepts such as line, form, and shape.

In lesson 4.6, “Animals with Expressions: Clay Sculpture,” students discuss how textures contribute to mood in artworks. In the next phase, students analyze artworks that convey mood in textures and observe corresponding elements. Students apply their knowledge in experimenting with tools and techniques that create different textures in completing their clay sculpture. 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 around the strands including elements of art, creative expression, and critical evaluation.

Evaluation for 2.2a
Instructional assessments and scoring information provide guidance for interpreting student performance.

Each unit provides a unit assessment rubric that lists the objectives, evidence, and scoring criteria for each level. Unit-end “Studio Explorations” include an assessment rubric aligned to the lesson objectives. Additionally, the unit structure includes specific tools to assess student learning. Each lesson includes an “Assess” section with criteria and guidelines for checking student understanding and progress. The program connects these quick assessments to key vocabulary and rubrics, helping educators know what to look for in student work. With checkpoints and portfolio expectations, materials provide guidance for interpreting performance results.

Additionally, the “We The People” unit supports interpretation of student learning throughout by revisiting the essential question “Who are we and how do we live our lives?” and the Big Ideas about how artists convey the ways people engage in day-to-day life. Assessment questions guide students through the lesson concepts. Students analyze, compare, and contrast two paintings by Grant Wood and create an original portrait. Students demonstrate understanding by discussing what they learned, giving examples from lessons and their own artworks, 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
Materials provide guidance for the use of included tasks and activities to respond to student trends in performance on assessments.

“Strategies for Assessment” guide educators to prepare a list of students’ names before instruction begins to facilitate collection and recording of assessment results and comments; this roster can also inform educator response to trends. The Teacher Edition includes a sidebar in each lesson that addresses “Differentiated Instruction,” which addresses performance trends on an individual level. The materials offer educator suggestions to meet the needs of diverse learners for extra help, advanced learners, EB students, and students with special needs.

Additionally, the “Teach Through Inquiry” section of lesson 2.2 provides guidance for using studio tasks to clarify concepts and reinforce learning based on student performance trends. For example, educators are guided to anticipate the needs of students with physical limitations by providing cube tracers that can be taped or held in place by a peer. Educators challenge advanced students to draw the same still life in two different styles. For students who need extra help, materials suggest allowing them to collect items around a theme for inspiration and visual support before beginning their painting.

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.

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 and ask questions that target daily objectives. 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, the “Strategies for Assessment” section includes student self-evaluation tools and student-led activities designed to facilitate reflection and independent progress tracking. “Involving Students in Assessment” provides instructions for students to track personal journals, sketchbooks, and physical portfolios. Students create a routine of signing, dating, and critiquing their own growth.

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.

“Strategies for Assessment” guide 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 multiple forms of assessment—such as portfolios, rubrics, performance-based tasks, self-assessments, and knowledge mapping—to ensure students have varied opportunities to demonstrate understanding and show authentic learning.

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 varying levels of proficiency. The materials suggest providing geometric shape templates for students to trace as needed or have students precut paper into long strips for easier access for other students, who can then cut them into tiles.

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).

Each unit in the materials includes a comprehensive vocabulary list, and a corresponding “Family Tips” sheet that includes language of the discipline. For example, unit 2, lesson 2.4 materials embed preteaching vocabulary about quilting to support student understanding of concepts aligned with the TEKS. The “Engage” portion of the lesson first guides students to activate prior knowledge by visualizing an image, which helps connect new learning to familiar experiences before introducing new vocabulary. Students learn that quilts can contain repeat patterns or pictures that tell a story. Throughout the lesson, embedded supports such as modeling, guided questioning, structured observation, and sequential drawing directions reinforce understanding and ensure students can apply new vocabulary and artistic concepts in analysis and creation.

Additionally, unit 3, lesson 3.6, “Patterned Illusions: Grid Pattern,” embeds vocabulary to support student understanding of key concepts aligned with the TEKS. Students discuss lesson concepts that are anchored in vocabulary words such as pattern, horizontal, symmetry, vertical, and quadrant. Students compare and contrast four artworks using lesson vocabulary, then create their own symmetrical patterns and apply vocabulary as they discuss them.

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.

Lessons in the Teacher Edition provide differentiated instructional supports, offering advanced learning opportunities for students who have demonstrated proficiency in the targeted concepts and skills. Embedded extension and enrichment activities enable exploration and cross-curricular learning. These supports include “Language Arts” connections that reinforce reading and writing skills, integrated 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, lesson 5.6, “Messages in Public: Models for Public Sculpture,” offers a math extension in which advanced learners scale a chosen model sculpture to a larger size, then create it.

Evaluation for 3.1d
Materials include teacher guidance for providing specially designed instruction (SDI) for students receiving supports and services through special education.

The Teacher Edition suggests segmenting lessons into shorter, manageable chunks or writing instructions for students who receive specially designed instruction (SDI). The materials remind educators to circulate among the students as they are working to anticipate the needs of those who might begin showing signs of frustration. Lessons in the materials include similar guidance for daily lessons under the “Differentiated Instruction” heading.

Additionally, lesson 6.9, “Collaged Creature: Myths and Legends,” includes adaptive guidance for using scissors and glue to help students with mobility challenges complete required tasks.

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.

“Teach Through Inquiry” sections in each lesson provide explicit directions and prompts for modeling and explaining concepts to students. Educators first engage students with a series of questions that relate directly to the lesson. In addition to direct questions, the text provides suggested answers. Then educators guide students through a series of images. The materials directly instruct educators in what to say and point out to students.

Additionally, unit 3 in the Teacher Edition includes instructional plans for a multi-lesson sequence that is organized to guide educator questioning. The lessons provide ordered steps for guided practice. For example, in lesson 3.5, “Positively Puzzling: Shapes and Illusion,” students learn about tessellation and create an interlocking artwork. To guide the process, educators receive specific step-by-step, explicit instructions for modeling that include having students measure and trace a 3x3 grid before drafting a pattern on tagboard. Students then draw and cut a curvy line, following instructions to ensure the shapes interlock. The directions continue through completion of the activity.

Evaluation for 3.2b
Materials include teacher guidance and recommendations for effective lesson delivery and facilitation using a variety of instructional approaches.

The Teacher Edition includes lesson delivery guidance using various instructional approaches. For example, in lesson 2.4, “A Tradition of Quilting: Stories in Fabric,” the “Teach Through Inquiry” section encourages students to consider the storytelling aspect of quilting through inquiry-based learning. Students choose a theme and collaborate throughout the project. Additional ideas to facilitate the lesson through cross-disciplinary (i.e., dance) and cross-curricular (i.e., social studies or reading) tie-ins complete the lesson.

“Studio Explorations” at the end of each unit enable students to use skills learned in previous lessons to create artworks. These lessons and projects provide opportunities to reflect and revise. The materials guide educators in increasing student engagement with each other and the content in various ways. Each lesson offers guidance to effectively deliver the content with a variety of instructional approaches.

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.

In lesson 5.8, students create paintings containing symbolism. The lesson begins in whole-group, educator-led exploration through guided discussions. The “Studio Time”activity guides the educator through facilitating the art-making process for students as they create paintings that convey meaning through use of symbols.

Lesson 6.3, “Beyond the Planet: Perspective in Space,” includes various teaching structures to enable students to create a drawing or painting using perspective and color relationships. The class begins with whole-group discussion of new content. “Explore the Images” includes educator guidance to show students how to determine a horizon line and explain its importance in landscapes and other works that use perspective before students sketch independently. The lesson also encourages the reflective sharing of ideas in collaborative groups.

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.

Point-of-use differentiated instruction supports in the Teacher Edition provide guidance for offering linguistic accommodations to EB students as they develop academic and discipline-specific language skills. Additionally, “Differentiated Instruction” provides targeted strategies and support for EB students. In lesson 2.9, “Sustainable Architecture: New Materials and Forms,” educators write the Spanish word verde and the English word verdant on the board. The class makes connections to meaning based upon visible cognates. While many differentiation suggestions come from the perspective of lifting the performance of EB students to their peer group, in a lesson 5.3 discussion on graphic symbols, the “Differentiated Instruction” guidelines recommend that students who are familiar with alternate alphabetic symbols be invited to write a symbol on the board and explain its meaning to classmates as an introduction to the lesson, addressing EB students’ needs by making connections for other learners.

Additionally, the Teacher Edition includes guidance on providing linguistic accommodations for various proficiency levels to help engage students in using more academic and discipline-specific language. Guidance in lesson 5.9’s “Differentiated Instruction” section of the Teacher Edition encourages educators to accommodate students who may have difficulty with academic phrases that use discipline-specific language such as unique system, hieroglyphic writing, recorded their history, ceramic vessels, abruptly ended, invaders, tombs, slab method, and clay cylinder. Because this academic language is critical to the historical components of the lesson, educators ensure that students have scaffolding to develop these phrases and words.

Evaluation for 3.3b
Materials include implementation guidance to support teachers in effectively using the materials in state-approved bilingual/ESL programs.

The materials include educator guidance, cross-disciplinary connections, Spanish glossaries, and a website toolbar that translates all student texts and lesson materials into several languages. In the “Differentiated Instruction” section, the text presents adapted language-development strategies that reduce learning barriers while including vocabulary growth in art concepts. EB student 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, lesson 3.5, “Positively Puzzling: Shapes and Illusion,” provides guidance for facilitating class discussions in the “Teach Through Inquiry” section. The “Differentiated Instruction” inset includes guidance for EB students by explaining interlocking and overlapping, while the “Language Arts” inset examines the origin of the word tessera.

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.

Lesson 2.8 in the Teacher Edition includes a “Teach Through Inquiry” section that provides guidance for building background knowledge and academic vocabulary through discussion and reading the student text. Comprehension strategies suggest that students begin making a building word list in which they collect words associated with architecture such as facade, architect, exterior, interior, and the types of materials used in building design. To support comprehension connections, materials suggest students examine architectural examples from around the world, since the provided examples come from the United States. A cross-curricular connection to history leads students to determine the types of building materials that would have been used by ancient cultures.

The Teacher Edition also offers helpful supports for EB students to connect new learning to their own experiences by starting conversations about familiar places and ideas. For example, students work together to talk about local landmarks, which helps them share ideas, learn from classmates, and build art vocabulary. Lesson 6.1, “Beyond the Frame: Near and Far,” helps students understand art concepts by breaking down difficult terms into simple vocabulary. For example, educators explain the term illusion of space through several lessons, first by comparing foreground and background in visuals. Then the educator models how to find the horizon line. In a third lesson, students discuss finding the vanishing point.

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.

This guidance is not applicable because the program is not designed for dual language immersion (DLI) programs.

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.

“Teach Through Inquiry” sections provide educators with guidance for content delivery. Educators introduce students to artistic concepts in the lesson through provided guided questions, then engage students in an “Explore the Images” activity that supports students in applying these concepts as they analyze and respond to images. “Studio Exploration” for each strand includes guided instruction to support educators in teaching related artistic literacy concepts. The iterative process develops artistic literacy through learning concepts, interpretation, and discussion of featured images, as well as application of artistic elements in their own artworks.

Additionally, unit 5, lesson 5.7’s “Teach Through Inquiry” section guides educators to help students activate prior knowledge and observations through explicit instruction on understanding visual symbols such as weather symbols, traffic symbols, and computer toolbar symbols, and the concept that artists communicate messages through images or symbols in their work—a foundational concept of artistic literacy specific to visual art.

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.

The “Teach Through Inquiry” section of each lesson directly instructs educators on activating previous learning through “Introduce the Studio” activities and discussions. For example, educators provide instruction on movement in lesson 1.4, “Posed for Action: Drawing from Observation,” which occurs in subsequent lessons. Lessons 3.4, 3.6, 4.6, 5.4, and 6.6 also address motion in artworks, connecting learning throughout the course.

Additionally, each unit contains a preassessment of students’ knowledge of discipline-specific concepts and vocabulary presented in that unit or previous units. For example, the preassessment for units 1 and 4 ask about the term sketch, which was taught in Grade 4, reintroduced in unit 1 of Grade 5, and continued in unit 4. This cyclical review engages students in connecting prior learning to new concepts.

Evaluation for 4.1c
Materials consistently provide opportunities for students to develop and use discipline-specific artistic literacy vocabulary.

Lesson 1.5 introduces the vocabulary words techniques, style, abstract expressionism, and futurism, and provides opportunities for students to develop their understanding and use this vocabulary through guided discussion, image exploration, and a corresponding studio activity. “Teach Through Inquiry” activities ask students to think about the different styles and techniques they’ve seen in art. Then the lesson introduces the characteristics and concepts of abstract expressionism and futurism. Students engage with the terms by looking at various examples in “Explore the Images,” discussing the feelings and movement they see. In “Studio Time,” students practice creating an abstract artwork using overlapping and repeating lines, which connects their developing vocabulary knowledge to skill application. The “Close” section guides educators to assess students’ conceptual understanding through discipline-specific vocabulary discussions.

Additionally, unit 3, lesson 3.6 introduces students to art and design vocabulary terms such as pattern, horizontal symmetry, vertical symmetry, and grid. Educators encourage students to use this vocabulary as they collaborate to analyze artworks and reflect on what they have learned. Students then engage in discussions about their own artworks using the lesson vocabulary.

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.

Unit 1, lesson 1.6 in the Teacher Edition tasks students with building a sculpture that honors a person and shows a pose, using an armature. Students engage in content through various tasks. After students review lesson 1.3 about figure proportions and lesson 1.4 about techniques and styles, they participate in guided discussion, analyzing three sculptures in “Explore the Images.” Students then create their own sculptures that meet studio criteria.

Additionally, unit 4, lesson 4.6’s “Teach Through Inquiry” section helps educators introduce and explain concepts through guided discussion of art elements as they review images by Luis Jiménez. Students then create clay sculptures that apply related art elements. Developing these skills builds art literacy and aligns with TEKS expectations, which focus on using appropriate language to interpret, evaluate, and explain students’ artistic choices.

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.

The Teacher Edition includes educator scripts to lead discussions and provide direct instruction before having students complete an artwork demonstrating a TEKS-related skill. For example, in lesson 1.4, “Posed for Action: Drawing from Observation,” the educator leads a discussion on movement and proportions. Educators guide students through active movements, then signal them to stop and hold their poses. The class examines and describes how bodies appear when in motion. Then the educator guides student attention to the relationship between body parts to specifically address ratio and proportion. Afterward, students sketch figures with correct proportions and movement. These activities allow students to use appropriate vocabulary when discussing the elements of art, including shape, color, and form (TEKS 5.1B), and create compositions using the elements of art (TEKS 5.2B).

Additionally, unit 2, lesson 2.4 introduces concepts of quilting using a hands-on approach. In “Engage” and “Studio Time,” educators use collaboration to build students’ technical skills. Students work together to decide a theme and a quilting project (TEKS 5.2A) to incorporate lived experiences into work. Using their planning materials, students make quilt blocks, which aligns with (TEKS 5.2Cvi) to create fiber art. The Teacher Edition includes “Guiding Explorations in Art,” which provides detailed guidance for helping students generate ideas, develop ideas, explore media, evaluate the process, and display artwork.

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.

In Unit 5, lesson 5.3’s “Introduce the Studio,” educators remind students to apply what they learned in lesson 5.1 about designing with letters, and in lesson 5.2 about creating handwriting as they begin their current project. Students connect skills they previously learned to support their design of a symmetrical calligraphy pattern. Students subsequently use their calligraphy skills to create a radially symmetrical calligraphic work conveying a cultural theme or message.

The final “Studio Exploration” in lesson 6.9 reminds students that they have studied and created artworks showing imaginary places and creatures throughout the unit. Educators direct students to apply what they learned in lesson 6.7 about fantasy and exaggeration, and their knowledge of working in relief from lesson 6.8 to create a collage integrating patterned papers and magazine cutouts. This activity connects to a previous collage activity in Grade 4, lesson 1.6. Connected learning builds art literacy and aligns with TEKS expectations, which emphasize the continuity of applying art elements and design principles across every grade level.

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.

“Teach Through Inquiry” activities include opportunities for reflecting about and presenting artistic works. For example, in unit 2, lesson 2.6, students plan a display for their yarn-based artworks, considering what materials they need and what information should be provided. Students present the work to their peers, enabling them to practice their critiquing, comparative, and self-assessment skills according to the established “Art Criticism” protocol.

“Unit Performance Tasks” in the unit 3 review help students reflect on what they have learned. In the “Portfolio Review, Reflection, and Presentation,” students examine their completed works and evaluate how well they connect to the unit’s Big Idea. Students select one artwork, then create a sketch or diagram in their “Research Journal” to plan how it could be displayed, such as in a frame or on a pedestal. This process builds art literacy and aligns with the TEKS expectations that emphasize organizing, exhibiting, and presenting original artworks.

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.

Each group of lessons increases in rigor and complexity. Unit 1, strand 3 focuses on color and color theory. The lessons begin with an introduction to the color wheel and color mixing, and progress through understanding color harmonies before culminating with students creating a painting and justifying their choices of compositional and color relationships. This process allows for skill development and refinement because each concept builds on the progression by guiding students through a structured process.

Unit 6, lesson 6.6’s “Teach Through Inquiry” section supports conceptual development by focusing on a single concept. In “Explore the Images,” educators guide students to analyze the concept of exaggerated proportions in artworks. Students engage in peer discussions using vocabulary to discuss how changing proportions can convey particular feelings in an artwork. This conceptual understanding scaffolds the “Studio Exploration” in which students apply the skill by creating surrealistic figures. The “Close” and “Assess” sections require students to reflect on how they used exaggerated proportions to communicate mood.

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.

The Teacher Edition includes opportunities for students to show mastery of artistic skills by creating, exhibiting, and presenting their artworks. For example, in lesson 4.3, students create a detailed watercolor painting of a flower and develop ideas expressed by different colors and shapes. In “Portfolio Review, Reflection, and Presentation,” students assemble 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 artworks and reflect on their artmaking experiences.

Additionally, in lesson 3.6, “Patterned Illusions: Grid Pattern,” students create a well-planned, vertically and horizontally symmetrical pattern using a grid and geometric shapes. Students create a display, critique each other’s patterns, and compare and contrast the various designs.

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).

The “Art Materials and Supplies” list in the Table of Contents shows the variety of media to be used in Grade 5 art projects, including crayons, markers, colored pencils, oil pastels, chalk, assorted papers, tempera paint, watercolors, clay, cloth, foil, newspaper, magazines, yarn, heavy cardboard, buttons, ribbons, cloth, thread, greeting cards, and found objects, including recycled and natural materials. To support a range of styles, “Teaching About Styles, Periods, and World Cultures” enables educators to examine art through the lens of history; styles in this text include realism, cubism, and photorealism.

In lesson 3.1, “Surprising Images: Photomontage,” students create a thematic photomontage using old photographs, magazines, paper, and glue. Educators provide visual examples and guiding questions to direct students toward creations that are organized around thematic questions and variety of materials.

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).

Each “Studio Exploration” contains “Inspiration From Art” and "Inspiration from Our World," which 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 works. For example, in lesson 2.3, “Art Comes from Art: Creating a Still Life,” the “Inspiration From Art” subsection includes three distinct images to spark student creativity. The educator asks four questions or provides directives to guide student work while allowing them to develop, adapt, or extend their own interpretations.

As mentioned previously, in “Portfolio Review, Reflection, and Presentation,” students develop portfolios as a component of “Art Criticism.” The protocol establishes that students save artworks, selecting their favorite pieces from each unit to discuss with peers. The class collaborates to build a culminating art exhibition based upon each unit’s theme, in which each student presents a work.

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.

In unit 2, lesson 2.2’s “Studio Time,” students engage in decision-making on various levels. They choose among styles of realism, cubism, and photorealism. They choose among pencil, markers, crayon, oil pastel, or glue and paper to draw, paint, or make a collage of a personal still life. Additionally, educator guidance directs students to experiment with media by making multiple preliminary sketches or mock-ups until they decide on a final approach. These opportunities support students in making conscious artistic decisions and organizing personal artwork for presentation.

In unit 3, lesson 3.8, students experiment with dimensional paper construction through techniques of curling, folding, fringing, scoring, and slitting. Students choose from among eight techniques to create their own designs, determining how their structures will look and what message the structures will communicate. As mentioned in “Portfolio Review, Reflection and Presentation,” students preserve their created artworks to discuss with a peer and collaboratively create a classroom exhibition of their favorite one or two pieces.

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.

Each lesson’s “Explore the Images” provides educator guidance to help students view, interpret, and respond to artworks directly related to the lesson objectives and the TEKS. “Guiding Response to Art” informs educators of 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, examine how it is organized, and speculate as to what the artist might be saying. Lastly, educators inform students that evaluation compares to any other logical process and moves beyond “I like it” by reviewing established criteria and citing evidence from the artwork.

Additionally, unit 2, lesson 2.3 provides educator guidance to lead student analysis of Roy Lichtenstein’s Cubist Still Life, as students examine how the objects are broken into geometric shapes, straight lines, and sharp angles. Students then compare and contrast Lichtenstein’s work to Pablo Picasso’s Three Musicians and Andy Warhol’s Brillo Box, discussing how they each communicate ideas differently. 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
Materials emphasize the use of discipline-specific vocabulary in interpreting, evaluating, and responding to artistic works.

The unit 6 review includes a “Teach Through Inquiry” outline that explicitly guides educators through the “Art Criticism” protocol of describe, analyze, interpret, and evaluate. Educator guidance lists the specific vocabulary words used in evaluation criteria as spatial illusions, perspective, visual rhythms, unusual proportions, fantasy, exaggeration, embossed metal, and collage. The Unit Performance Tasks engage students in the evaluative process using unit vocabulary to discuss artworks and justify their responses.

The “Studio Exploration” rubrics establish criteria for discipline-specific vocabulary and provide educator guidance to support vocabulary use and development in the evaluation. 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
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.

The unit 2, lesson 2.3 materials provide opportunities for students to interpret, evaluate, and respond to artistic works by other artists through structured activities across lessons and units with increasing rigor. Students use the “Art Criticism” protocol—describe, analyze, interpret, and evaluate—to describe what they observe in the image, then analyze how the artist arranges visual elements within self-portraits, interpret the visual evidence to consider artistic intent and what the self-portraits communicate about the subjects. Finally, students evaluate the artwork and its context to develop an evidence-based interpretation of how effectively the artists express intended ideas or themes. This sequence increases in complexity as guidance specifically states that students use learning about “what they learned in Lesson 2.1 about value, light, and shadow and in Lesson 2.2 about different art styles.”

In the unit 5 review, students follow the “Art Criticism” protocol to examine works by Luis Jiménez. The artistic concepts discussed in the unit are “designing with letters and symbols,” “beautiful handwriting,” “calligraphy patterns,” “symbol systems,” “cultural meanings,” and “vessels with a message,” which demonstrate increased rigor from unit 1 skills such as proportions, contour drawing, value and shading, and texture. As part of the unit review, students engage in a “Portfolio Review, Reflection, and Presentation,” which is evaluated with the provided rubric. To achieve a level four in this category, students must select artwork that is appropriate to the artistic concepts of the unit and provide “insightful explanation of fit between artworks and Big Ideas.”

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.

The Teacher Edition contains “Studio Exploration” lessons that include educator guidance to instruct students in giving and receiving feedback. “Studio Explorations” include “Reflect and Present,” which “encourage[s] 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. In lesson 4.6, students exchange feedback by reflecting on questions with a partner. After completing their sculptures, students reflect, then exchange feedback, answering specific questions about their artworks and asking for suggestions for improvement.

“Guiding Responses to Art” 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” are not the same as critical evaluation. Educators state the applicable criteria 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 a statement of preference. Students refer to the evaluation criteria listed for each studio when evaluating their own and each other’s artworks.

Evaluation for 5.2b
Materials provide opportunities for students to give feedback on discipline-specific artistic works created by other students.

The Teacher Edition offers multiple opportunities for students to give feedback on other students’ artwork. Lesson 2.3, “Art Comes from Art: Creating a Still Life,” provides students the opportunity to give feedback using three supplied questions. For example, in “Reflect and Revise” and “Reflect and Present,” students share their visual stories with classmates, discussing their characters and plot. Students then participate in peer critiques through guided questions.

The materials provide a step-by-step process for educators to introduce peer discussion and feedback in “Portfolio Review, Reflection, and Presentation.” For example, students select their favorite unit 2 artworks that align with the Big Idea and explain why they chose those specific pieces. Students partner for interviews to talk about their artworks, reflect on the choices they made while creating them, and think about what kind of art they want to make next. The educator facilitates a 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
Materials provide opportunities for students to receive feedback on their discipline-specific artistic works from teachers and other students.

In unit 1, students receive feedback from peers and educators as they reflect on their learning. For example, during the “Portfolio Review, Reflection, and Presentation,” students share their finished artworks and discuss what they appreciate about each other’s work. Students then collaborate to select pieces for a class exhibition in which students share and engage in critique as a class.

Students also receive feedback in lesson 3.6, “Patterned Illusions: Grid Pattern.” In “Teach Through Inquiry,” “Reflect and Revise,” and “Reflect and Present,” students receive feedback on their work from other students. Students create a symmetrical geometric pattern and, before finalizing their projects, consider the expectations and purpose of their project with another student. As they complete their projects, they “invite constructive comments from classmates.”

Evaluation for 5.2d
Materials include guidance for teachers to provide feedback to students to refine their discipline-specific artistic works.

The Teacher Edition includes opportunities for educators to give feedback to students about their artwork. For example, in lesson 2.1, “Studio Exploration” advises educators to suggest that “students investigate the process of blending colors by adding white or black to them so as to achieve the correct amount of light and shadow in their shading.”

“Introducing Media and Techniques” in the Teacher Edition provides educator guidance to help students use different media and refine their artistic skills. For example, the text describes crayon resist as applying tempera paint over areas of a surface heavily coated with wax crayons. The paint resists or rolls away from the wax, creating an artistic effect. These suggestions provide specific feedback on skills-related refinements.

Evaluation for 5.2e
Materials provide opportunities for students to engage in self-reflection or self-evaluation to refine their discipline-specific artistic works.

Lesson 1.1, “Expressive Faces: Portraits and Proportion,” in the student book includes a gridded chart depicting facial proportions for students’ reference as an evaluative tool. Additionally, all lessons provide studio evaluation criteria for each piece of artwork the student creates, helping students reflect and refine their artworks in progress.

Additionally, in lesson 1.6, “Sculptures of People: Armature and Form,” students “Reflect and Revise” using questions such as “Will it stand or do you need to attach it to a base?” The “Writing Process” inset explains that writers spend more time revising than any other step of the process, noting that the art process might be the same. Guidance states that sculptors might adjust the armature’s pose or remove excess foil. Students make changes based upon their consideration of these and similar questions.

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.

In lesson 6.3, “Beyond the Planet: Perspective in Space,” the Teacher Edition includes a “Teach Through Inquiry” activity, which offers guidance for introducing concepts. The sidebar includes “History Connection,” “Connections Across the Arts,” and “STEAM Technology” to help educators make cross-disciplinary and cross-curricular connections.

The materials include a STEAM unit planning document for each unit that connects arts disciplines to science, technology, engineering, and math. Additionally, “Art in the Total Curriculum” 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
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.

Lesson 3.4, “Puzzling Lines: Op Art” provides clear opportunities for student engagement in cross-curricular learning. “Reading Comprehension” offers a sequence activity, “STEAM Science” invites students to explore illusions from the scientific perspective, and in “Connect Across the Arts: Dance,” students explore dancing lines and shape.

Additionally, unit 3, “STEAM: Focus on Engineering” includes student opportunities to engage in cross-disciplinary and cross-curricular activities. Students examine technical drawings, such as the blueprints used by Ingrid Hu to ensure that her installations fit their planned locations. Students connect their understanding of technical renderings to ideas such as DNA as a master plan, plant diagrams, and mathematical algorithms.

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.

“Teaching Art with a Global Perspective” and “Teaching About Styles, Periods, and World Cultures” in the Table of Contents provide an overview of fifteen 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 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.

An example of cultural learning occurs in lesson 5.8, “Cultural Meanings: Symbols in Asian Art.” In “Teach Through Inquiry,” educators engage students in discussion on symbols used in Asian artworks and lead them through analysis of four artworks by Japanese artists born in the 1700s. The lesson includes a “Geography Connection” and supports students in identifying and locating Asian countries on a globe. The materials provide historical context of the artworks in the section titled “About the Artists.” These activities align with the Grade 5 TEKS on historical and cultural relevance in which the student demonstrates an understanding of art history and culture by analyzing artistic styles and historical periods.

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).

The materials include tasks and activities for students to learn about a variety of artworks of varying historical and cultural significance. In lesson 5.2, “Beautiful Handwriting: Brush and Pen,” students explore calligraphy as a simultaneous study of penmanship and art. “About the Artworks” provides historical context, as students analyze artworks of Chinese and Japanese origins and analyze them from an artistic perspective, discussing early bamboo and brushstroke methods. Students engage in artmaking by developing their own calligraphy skills and symbols.

In lesson 5.8’s “Explore the Images,” students analyze and discuss artworks by Sakai Hōitsu, Keisai Eisen, and Isoda Koryūsai. Students examine styles, symbolism, and their design preferences. In “Geography Connection,” students make global connections by identifying Asian countries on a map. The “About the Artists” inset provides historical context. These activities support students in understanding 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.

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.

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. In lesson 2.6, “A Tradition of Yarn Painting: Pattern, Color, and Composition,” students answer questions about a Huichol yarn painting by Fabian Soarez. Students analyze yarn paintings for color and meaning, then create their own yarn paintings. These activities correlate to the Grade 5, strand 3 TEKS on historical and cultural relevance.

In lesson 5.9, “Vessels with a Message: Clay-Slab Construction,” students demonstrate their understanding of art’s visual historical and cultural context in alignment with the TEKS. This lesson describes how Mayan artists decorated ceramic vessels with symbols and images that recorded their cultural history and beliefs. Students view and discuss four images through guided questions before crafting their own clay vessels informed by the Mayan ceramics they studied. Students demonstrate their understanding of the lesson content by participating in class discussions about Mayan artwork in “Quick Question Review.”