Explorations in Art, Grade 6 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 6 scope and sequence identifies concepts of the program, student learning objectives, the strand of each objective, and lists where and when lessons explore concepts. For example, in lesson 1.6, the “Introduce the Studio” section guides educators to remind students that many sculptures depict people in action, participating in events of daily life, which aligns with grade-level TEKS. The supplemental correlations chart itemizes the unit concepts, lessons, and the TEKS, and lists the lesson components by page number and content type within each lesson.

Additionally, the scope and sequence maps out lessons by grouping them into three thematic strands, demonstrating how concepts are organized throughout the program. “Unit Planning Guides” integrate concepts taught in the student learning objectives. For example, lesson 3.4, “Narrative Art: History and Murals,” identifies strands 2 and 3 student learning objectives: Understand that artists sometimes create artworks to inform people about historical events, describe and interpret the subject matter and messages in historical narratives, and create a 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 to support educators’ understanding of the number of instructional days, class periods, and time needed to cover all instructional units. For example, the scope and sequence for Grades 1–6 offers four 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.

The scope and sequence includes suggested pacing for rotational schedules for single and multiple 30–90 minute classes per lesson. Each unit provides a pacing guide with lesson topics and recommendations for the amount of time per day or week needed to cover lessons. For example, the pacing calendar denotes lesson 2.9, “Studio Exploration: Animal Patterns: Relief Printing,” as a 90-minute lesson spanning two traditional learning class periods, which can be extended with additional cross-curricular connections in science, poetry, and technology. 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 its grounding philosophy, program features, and structure. The rationale for unit order emphasizes, “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.

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 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.

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, “Animal Sculptures: Forms with Pattern and Texture,” includes a pacing recommendation of two 45-minute periods and the essential question, "What does it mean to live in harmony with nature?” and the Big Idea "Thinking and working as artists and designers, we can observe nature up close and explore ways to represent what we see." 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 lesson plans, such as unit 2’s “Looking at Nature: Visual Texture,” include protocols that support lesson internalization through detailed instructional guidance to help educators understand lesson content, delivery, and student expectations before instruction begins. The Teacher Edition guides educators in introducing lesson objectives and directly 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 criteria for success. The “Studio Time” section clarifies independent practice expectations and formative assessment opportunities, 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 unit overview that outlines the instructional sequence across three strands. The guide identifies lesson titles, pacing, artworks, studio experiences, vocabulary, required materials, and cross-curricular connections, allowing instructional leaders to support lesson planning, resource allocation, and instructional monitoring. 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.

Additionally, “Visual Literacy” in the “Reference” section of the Teacher Edition outlines teaching techniques for teaching visual literacy in the program. Other supports implemented in the reference materials include “The Place of Art in STEAM,” “Choice in the Elementary Art Room,” “Using a Research Journal in the Art Room,” “Design Thinking for Visual Art Teachers,” and “Differentiated Instruction.”

Lastly, the Davis Digital website provides resources and guidance for instructional leaders. The “Help” tab contains support videos demonstrating many aspects of the program at varying levels, including 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 contains videos for teaching art online and providing portfolio support. These resources provide instructional guidance and ensure that educators have the support needed to deliver the lessons and learning experiences outlined in the program.

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.

Each unit introduction includes educator background information in a “Teach Through Inquiry” section that introduces the unit theme and background. The “Unit Planning Guide” includes the unit theme, lesson strands, lesson topics, suggested pacing, artworks, studio topics, vocabulary, materials and cross-curricular connections. For example, unit 1, lesson 1.7 explores concepts of color, and the lesson includes the vocabulary primary colors, secondary colors, spectrum, intermediate colors, tint, shade, intensity, and complementary color. Glossaries define academic language in the Teacher Edition and the Student Edition. 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 “Unit 2 Planning Guide” organizes student exploration activities and lessons in charts with key concepts, artworks, studio media, vocabulary and cross-curricular connections. In lesson 2.1, “Perspective in Nature: Space and Distance,” the “About the Artist” inset features biographical information about the artist Vincent van Gogh, whose artworks 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.

“Family Tips” sheets provide support for families in English and Spanish. These include student expectations for the unit, what students will learn, what they will do, vocabulary words, and 10 extension ideas that families can use to support their student’s progress. 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 resources extend student learning, encouraging progress.

Furthermore, the “Enable Translation” feature of the Davis Digital website translates page contents and course texts into several languages, including Spanish, providing family and student access to all instructional content.

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).

Each lesson in the Teacher Edition includes comprehensive, structured, and detailed lesson plans to support educators in meeting content and language standards aligned with the TEKS. 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, which help the educator maintain focus and meet the lesson’s content standards.

Additionally, in lesson 1.4’s “Explore the Images” section, educators ask students about gesture in genre scenes. In the “Create” section, students draw a genre scene, integrating gesture. The lesson “Close” checks for understanding as educators question students about genre such as people at work, and gesture, such as capturing movement. These materials align with TEKS to meet content standards.

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 units provide a chart listing the educator and student materials needed for each lesson, including titles and artist names for lesson artworks and media. Additionally, the Davis Digital website contains 20,000 high-quality art images included in the curriculum, with tools to search by lesson, artwork, medium, or element, and tag images for future retrieval. Educators create their own slide presentations, which can be shared across multiple student platforms for digital or asynchronous learning. Downloadable lesson plans include necessary materials and suggested timing for each lesson component. The unit planning guide lists student materials for each lesson. For example, in unit one lesson 1.2, students will use white or gray paper, drawing pencils, chalk, pastels, and tissues.

The “Unit Planning Guide” paces on the lesson level, offering 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, which ensures 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).

Lesson 3.2’s “Aesthetic Awareness” sidebar extends student learning by prompting, “This week, pay attention to cartoons on the editorial page of your local newspaper and in national news magazines. Also, look for political and editorial cartoons on the Internet. Compare and contrast the styles of different cartoonists. Take note of the issues being addressed and the different points of view presented by each artist.”

Additionally, 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.

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.

Each unit includes a review with a variety of performance tasks to show mastery. The unit 1 summative assessments following instruction include options such as a picture-matching task that covers unit artworks. Students write a cinquain about Henry Ossawa Tanner’s painting The Banjo Lesson. Students participate in open discussion with provided sentence stems. They also engage in critique of an artwork by describing, analyzing, interpreting, and evaluating the piece while supporting their answers with discipline-specific vocabulary. Lastly, students engage in “Portfolio Review, Collection, and Presentation.”

Additionally, “Teach Through Inquiry” sections include pre-instruction diagnostic assessments via oral discussion questions. In lesson 2.3, “Close to Nature: Landscape Painting,” educators ask, “What is unusual about the view seen in this painting?” and “Where do you see the most detail in this artwork?” Student responses indicate which students might be familiar with the artistic concept and which may need support through the unit.

Lesson 2.3 also offers formative options that vary by task. For example, students create original watercolor paintings that meet provided studio evaluation criteria. The “Assess” box provides three criteria to determine the students’ conceptual understanding of the lesson content. The four-point proficiency rubric scores assessments on lesson and unit levels.

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 reference materials defines the types of assessments included in the instructional materials and explains the intended purposes of each assessment type. 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.

Downloadable lesson plans include an “Assess” section that defines and outlines the intended purpose of art criticism questions and assessment criteria used for both formatives and summatives. For example, as a summative, students analyze a painting by H.O. Tanner, 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 artworks. 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. The materials include possible student responses, correct responses for any factual questions, and a four-point proficiency scale to evaluate performance tasks.

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

Throughout the course, diagnostic, formative, and summative assessments are 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 this course. All assessments engage the student in active, hands-on skills development or oral discussion, both of which are supported by the TEKS.

In lesson 3.5, “Picturing Stories: Literature and Illustration,” the studio evaluation criteria align with lesson objectives and the TEKS as a summative assessment. Through discussion and observation, students explore art in literature. Students then paint 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.

Instructional assessments include matching artistic concepts with artworks, discussions, and oral response to true or false and open-ended questions. Students engage in tasks requiring performance skills, written response, vocabulary recall to question prompts, and correct vocabulary use in classroom discussion. They also engage in personal reflection, artwork evaluation, and critique based upon the elements of art and a provided critique protocol. Students generalize meaning of abstraction concepts of line, form, and shape.

In lesson 4.6, “Artful Teapots: Clay Methods,” students discuss functional artworks. They then analyze artworks, observe examples of artistic teapots, and name the parts of teapots. In the next phase, students elevate their knowledge by referencing a previously learned skill, the coil method, and comparing it to a new method, the slab method. Students exercise creative choice and create their own designs using the coil method, the slab method, or both. At the highest level of complexity, students evaluate and critique artwork in the “Present” section. The instructional materials include the downloadable TEKS correlations chart, which provides a detailed, linked list of activities by unit. The chart serves as a comprehensive guide to assure educators of instructional alignment 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.

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 “Stories” unit revisits the essential question “Why are stories important in our lives?” and the Big Ideas about how artists depict people engaging in their daily lives. Assessment questions guide students through the lesson concepts. Students analyze, compare, and contrast two works by Judith Schaechter. Students create an original portrait and 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. Scoring with the provided rubric ensures that 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” provide educators guidance to create a list of students’ names before instruction to facilitate collection and recording of assessment results and comments. This roster of collected information can also guide educator response to trends. Furthermore, the Teacher Edition contains a sidebar in each lesson for differentiated instruction, addressing performance trends on an individual level. The materials offer suggestions for educators to meet the needs of diverse learners in the categories of extra help, advanced learners, emergent bilingual (EB) students, and students with special needs.

In lesson 5.7, “Art to Wear: Symbols and Personal Adornment,” the “Teach Through Inquiry” section provides guidance for using studio tasks to clarify concepts and reinforce learning based on student performance trends. For example, guidance advises educators to anticipate the needs of advanced students who can create elaborate pieces. Guidance also advises educators to provide tactile experiences for students with visual impairment by having them handle jewelry and natural materials, encouraging them to rely on their sense of touch while developing ideas for their projects.

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 collect anecdotal and performance assessment results, which serve as growth measures during educator–student conferences. In “Strategies for Assessment,” educators examine the importance of ensuring alignment across grade levels, which occurs as they implement an “assess while you teach” philosophy by asking 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 portfolio, which authentically depicts and tracks student growth and progress for the educator and the student.

Educators encourage students to participate in self-assessment 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.

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 for students to access concepts at varying levels of proficiency. The materials recommend supporting EB students during the brainstorming portion of the narrative-art lesson, allowing them to pantomime or show poses they would select. To support students who use adaptive tools, lesson guidance recommends creating bubble-wrapped or foam-based grips for better control during activities.

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 includes a comprehensive vocabulary list and a corresponding “Family Tips” sheet that includes discipline-specific language. Unit 2, lesson 2.4 preteaches vocabulary to support student understanding of concepts aligned with the TEKS. Throughout the sequence, vocabulary reinforcement happens through visual thinking, guided explanation, and hands-on application, culminating in students applying the terms as they paint their imaginary places. Throughout the lesson cycle of “Engage,” “Teach,” “Create,” and “Evaluate,” students engage in academic conversations using the vocabulary of the discipline, supporting vocabulary retention.

Additionally, unit 3, lesson 3.6 embeds vocabulary to support student understanding of concepts aligned with the TEKS. Students learn the word scribe as they prepare to create an accordion-fold book, for example. Throughout the lesson, explanation, modeling, and application support vocabulary retention.

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.

The Teacher Edition includes differentiated instructional supports to offer 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 to 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.

For example, in lesson 3.1, “The Art of Caricature: Exaggerating Features,” materials recommend that students who have shown proficiency draw two caricatures: one of a person they admire, and one of a person they do not admire, to show artistic contrast. These students can also practice exaggeration in the “Research Journal” or draw a caricature of a literary or political figure.

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 includes guidance for SDI; for example, the “Differentiated Instruction” portion of lesson 2.6, “Animal Sculptures: Forms with Pattern and Texture,” advises educators that the additive method for clay sculpting might be best for students with visual impairment. Educators guide students to use two-thirds of their materials to form a base and the remaining third for additions to their sculpture.

Additionally, lesson 1.9, “Portrait of Myself as an Artist: Composition and Color Relationships,” includes guidance for students with intellectual disabilities. The materials note that mixing tints and shades may be too challenging for students, suggesting that educators provide a palette with a pure color in the center and pre-mixed tints and shades on the side.

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.

Each lesson’s “Teach Through Inquiry” section offers guidance and direct prompts for modeling and explaining concepts to students. The guidance prompts educators to first engage students with a series of questions directly related to the lesson and provides example answers. Then educators guide students through a series of images. The materials directly instruct educators in what to say and point out to students.

Downloadable lesson plans on Davis Digital include guidance to support the educator in modeling and explaining the concepts to be learned. Each lesson begins with “Introduce the Studio.” Educator guidance also includes class discussion suggestions to activate prior knowledge and engage students in lesson concepts before students begin a studio project.

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 tools and ideas to help educators use a variety of instructional approaches. The structure encourages a balance between educator-led instruction and student participation. For example, lessons begin with guided questions that help students look closely at artwork and think about what they see. From there, the learning naturally shifts into hands-on activities in which students apply those ideas in their own creations. Students then engage in reflection and revision independently and with peer collaboration.

Lesson 4.3, “Collaborative Structure: An Architectural Model,” in the Teacher Edition includes guidance for explaining and introducing artmaking concepts, engaging students in research and inquiry-based learning, and demonstrating artmaking concepts for the collaborative project.

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.

The materials provide a variety of instructional practices and recommendations for various structures, combining whole-group guidance with opportunities for students to work independently or in small groups. Educators receive ideas on how to group students. For example, the educator begins by leading a class discussion about different types of buildings, asking students to notice patterns, shapes, and details. Then students move into independent studio exploration as they create their own artworks. Lastly, students engage in a collaborative reflection of their artworks with their peers.

The Teacher Edition supports multiple types of practice and includes recommended structures of whole-group, small-group, and individual instruction for effective implementation. For example, lesson 6.3, “Honoring Someone Special,” includes whole-group guided instruction during the “Engage” and “Explore the Images” activities. In the “Studio Exploration” activity, students independently create a clay portrait of someone special, and “Reflect and Present” provides an opportunity for small-group collaboration.

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. Lesson 2.2, “Atmospheric Perspective: Exploring Watercolor,” advises educators to ensure that all students understand the meaning of discipline-specific terms such as transparent, opaque, wash, watery, soft, and fuzzy, directing them to show concrete examples of these words.

The Teacher Edition includes guidance for providing linguistic accommodations for various levels of language proficiency in lesson 6.3’s “Differentiated Instruction” section. Guidance encourages educators to use total physical response (TPR) during the learning process, modeling the meanings of height, width, and depth with their hands while delivering instruction to students, providing a visual for all learners in addition to a support for EB students.

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

Unit 2 in the Teacher Edition includes ways educators can connect art to other subjects and strategies that support language development and language learning in the art setting. For example, the lessons offer suggestions to break down new vocabulary and connect it to what students are learning. Educators use visuals, sentence stems, gestures, hands-on activities, and discussion to reinforce understanding while introducing new content. The materials include educator guidance, cross-disciplinary connections, Spanish glossaries, and a Davis Digital tool that translates the website and all student texts into several languages, including Spanish.

In the Teacher Edition, unit 4, lesson 4.9, “Design for Living: Product Design,” provides guidance for facilitating class discussions in the “Teach Through Inquiry” section. “Differentiated Instruction” includes guidance for EB students, defining product, prototype, process, version, and input. “Language Arts” offers students the opportunity to research famous inventors and create an artwork to represent one invention, while “Writing Process” allows students to write and illustrate advertisements for an invention. These options allow EB students to develop language in all four domains: listening, speaking, reading, and writing.

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.

In the Teacher Edition, lesson 3.6, “Handmade Books: Accordion-fold Construction,” educators help students build background knowledge, discussing the history of book printing dating back to the 1400s while using artistic and academic vocabulary. EB students explore the word scribe to understand writing-related words. Students learn how words and illustrations communicate mood and setting. The text provides opportunities for students to express their own ideas through writing activities. A “Research Journal” task encourages students to collect and reflect on objects. The lesson also connects to geography, helping students link art learning to the world around them. Students then envision a setting and write a book.

Additionally, the Teacher Edition provides guidance to support EB students in the “Teach Through Inquiry” section of lesson 5.4, “Graphic Design: Expressive Lettering,” which includes academic and discipline-specific vocabulary for supporting comprehension of mood. Educators explain that sometimes readers infer word meaning based on how the letters look. The class discusses block letters, melting letters, fire or scorched letters, and letters that have snow-capped tops, then students create expressive lettering. Reading comprehension activities in the lesson require students to collect a list of vocabulary words from some of their educators and write those words in expressive lettering to show that students understand mood in addition to word meaning. The lesson also suggests providing access to dual-language dictionaries so EB students can choose their own words to depict.

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” lesson 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. A “Studio Exploration” for each strand includes guided instruction that offers educator support to directly teach artistic literacy aspects of the strand and lesson. The iterative process develops artistic literacy through learning concepts, interpretation and discussion of featured images, and application of artistic elements in their own artworks.


For example, unit 2, lesson 2.5’s “Teach Through Inquiry” section supports educators’ introduction of artistic concepts of texture in bas-relief. In “Engage” and “Explore the Images,” educators receive guidance to provide direct instruction that builds understanding by guiding students through analysis and discussion of actual (experienced through touch) or tactile (experienced through sight) texture. Students handle natural materials and describe textures using artistic language. These experiences build development of artistic literacy as students communicate ideas and experiences using the language of the discipline.

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.

In unit 4, lesson 4.3’s “Teach Through Inquiry” guides educators to build on prior knowledge with student prompts to apply ideas from lesson 4.1 on identifying architectural details, and from lesson 4.2 on architectural forms. This “Introduce the Studio” review enables students to activate prior learning and apply it in the creation of their models. Connections of content, vocabulary, and context develop artistic literacy, which aligns with the TEKS expectations that emphasize combining and applying elements of art and principles of design.

Additionally, unit 6, lesson 6.8, “Celebrating Puppets: Telling Stories with Hands,” includes a “Teach Through Inquiry” section that guides educators to connect new and prior learning. In the “Engage” and “Explore the Images” sections, educators build on prior knowledge by leading discussions about New York’s famous Thanksgiving Day parade balloons, then discussing crafted puppets of all types and purposes, and how they are used for storytelling. In “Studio Exploration,” students create hand puppets. The lesson closes with review of purposes and types of puppets. A survey of lessons reveals that instruction on puppets occurs through the courses as students engage in puppet-making lessons in Grades 2 and 4, and puppet-making extension activities occur in Grades 3 and 5.

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

Lesson 3.4, “Narrative Art: History and Murals,” introduces the vocabulary words narrative and mural, then provides opportunities for students to develop their understanding by using visual arts vocabulary through discussion and analysis. “Teach Through Inquiry” asks students to think about how art can teach them about important historical events. Educators introduce murals, then students engage with the word by viewing examples of storytelling murals in “Explore the Images.” In “Studio Time,” groups of students collaborate to pick a historical event to illustrate, which continues developing their understanding that narrative in English language arts is storytelling in text, and murals are visual storytelling. In “Close,” educators question students about the locations of narrative murals and whether they have seen one in their own community.

Additionally, lesson 5.8, “A Woven Tapestry: Symbols in Cloth,” introduces the vocabulary words fibers, weaving, tapestry, loom, warp, and weft. “Teach Through Inquiry” activates students’ prior understanding of the words through a brief discussion of weaving, referencing paper weaving, which students previously experienced. Students engage with the words by looking at different examples in “Explore the Images.” In “Studio Time,” students create woven art projects with guided directions from the educator to cut and tie off their weavings. “Close” ends the lesson with a brief vocabulary review and an oral discussion prompt about the historical purposes of tapestries.

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.

Lesson 1.6 in the Teacher Edition tasks students with creating a sculpture that honors a person. Before “Studio Time,” students engage in collaborative conversation and analysis of four artworks in which vocabulary covers the elements of art and stylistic forms. Students then create their own sculptures that demonstrate established studio criteria.

Unit 5, lesson 5.6, “Getting Attention: Posters and Packets” guides educators to review lesson 5.4 on expressive lettering and lesson 5.5 on the importance of symbols in graphic design. Then educators lead students through guided discussion in “Explore the Images,” in which they collaboratively analyze four images using discipline-specific vocabulary to support their responses. In “Studio Exploration,” students create their own package design or poster using elements of art and principles of design.

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 related skill. For example, in lesson 4.5, the educator leads discussion on clay vessel forms and the coil method. Afterward, students create a clay container using the coil method. Students create their containers within the lesson’s context of vessels’ value in everyday life; the historical origins of an ancient decorated ceramic pot that depicts Achilles and Ajax engaged in a game; purposes and parts of containers; and mathematical concepts such as diameter. The materials provide direct instruction and factual answers through the lesson.

Additionally, “Guiding Explorations in Art” provides educators with detailed guidance for helping students generate and develop ideas, explore media, evaluate processes, and display artwork. For example, “Developing Ideas” advises educators to emphasize the process of thinking about the design of artwork in terms of color, line, and shape choices, which supports strand two, creative expression.

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 1, lesson 1.9’s “Introduce the Studio,” students build on previous learning by applying skills from earlier lessons, such as mixing colors and using color harmonies in still-life arrangements, which helps students see how prior learning connects directly to creating a more complex self-portrait. Making connections strengthens students’ understanding of how artistic skills work together.

Additionally, in unit 6, lesson 6.3, “Introduce the Studio” and “Studio Exploration” guide students to apply their knowledge of using facial proportion guidelines learned in unit 1, in which they sketched a portrait in pencil or crayon. Guidance elevates the required skill and experience of engaging with proportion and portrait in the current lesson as students switch to working with clay.

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.

In unit 1’s “Portfolio Review, Reflection, and Presentation,” students work together to plan an exhibition based on the theme “Day-to-Day Observation.” Students decide which of their artworks to include, how to display them, and where the exhibition could take place. These experiences help students understand how to organize and present their work while explaining its meaning to others (TEKS 6.4A).


Additionally, the Teacher Edition’s lesson 3.6, “Handmade Books: Accordion-fold Construction,” includes “Reflect and Present” tasks that allow students to reflect on what they learned during the process of making an accordion-fold book and collaborate as a class to display their books (TEKS 6.4B and 6.4C).

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.

Across strands, units, and the overall course, studio activities increase in rigor and complexity, enabling skill development. The “Studio Exploration” lesson in each strand guides students through a structured studio process that further refines artistic skills through increasingly advanced and complex activities. “Studio Exploration” steps, including “Explore,” “Create,” “Reflect and Revise,” “Finish Up,” and “Reflect and Present” support students throughout the process. This sequence ensures that students engage in a complete cycle of artistic development from initial experimentation to final presentation.

In unit 5, lesson 5.7’s “Studio Time,” students move from initial sketches to working with new materials, learning techniques such as shaping metal, tooling foil, adding texture, and preparing modeling compound. This step-by-step approach helps students build their skills and create detailed, textured wearable art.

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.

In lesson 3.6 of the Teacher Edition, students create an accordion-fold book using decorative papers, collage, watercolors, and tissue paper. After their books are complete, students collaborate to display their books, then compare and contrast their books to their peers’. This “Studio Exploration” allows students to produce artworks, including photographic imagery, using a variety of materials (TEKS 6.2C), and to create written or oral responses to artwork using appropriate art vocabulary (TEKS 6.4A) in their presentations.

Additionally, in lesson 4.3, students create an architectural model designed for a specific function and allow classmates to identify the forms and mood. In unit 5’s “Portfolio Review, Reflection, and Presentation,” 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, gallery-style presentation in which they reflect on their art-making experiences.

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 course “Art Materials and Supplies” list in the table of contents includes diverse media, such as crayons, markers, oil pastels, colored pencils and chalk, tempera paints, watercolors, various papers, styrofoam, wax paper, linoleum, clay, cotton cloth, lace, foil, fabric, glass containers, wire, beads, rivets, magazines, paraffin wax, wallpaper, felt, twigs, potatoes, turnips, carrots, and yarn. To support a variety of art forms, the section “Teaching About Styles, Periods, and World Cultures” enables educators to examine art through a historical lens; among the genres and categories covered in this text are still life, realism, and nonobjective art.

In lesson 4.8, “People and Parks: Landscape Design,” students collaboratively “create a drawing, digital plan, or model of a park or other public space.” The educator provides diverse media and tools such as sketch paper, a computer with design software, cardboard, twigs, sponges and other soft materials for creating foliage, and small pebbles.

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” in the Teacher Edition contains “Inspiration from Art” and "Inspiration from Our World" sections that allow students to explore paintings, photos, sculptures, and other types of art before creating their own projects using elements from works they investigated. For example, lesson 1.9, “Art as a Record of History: Composition and Color Relationships,” includes three distinct images. Educator guidance begins with the statement “Remind students of their choices,” offering five questions or directives to guide student work while allowing them freedom to develop and extend their own ideas.

In “Portfolio Review, Reflection, and Presentation,” students develop portfolios as a component of “Art Criticism.” Students save artworks throughout the course, selecting their favorite pieces from each unit to discuss with peers. The class collaborates to develop an art exhibition based upon each unit’s theme.

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 2.5, “In Touch with Nature: Actual Textures,” guidance encourages students to make artistic choices. “Studio Time” activities encourage students to examine animals found in books or magazines and then make artistic choices about the patterns, textures, and details they will include in their artworks. Students make rough sketches, then experiment with various textures and patterns in clay.

In unit 6, lesson 6.9, “Studio Exploration” guides students to choose a community festival as the basis for a painting. Students choose traditions or objects they will emphasize, along with colors and mood. Students practice agency, guided by questions to scaffold their creative artworks around developing skills.

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” section 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” articulates the philosophy of developing artistic literacy through critique of artworks, and educators apply these principles to guide children’s interpretation, analysis, and evaluation. The program’s 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.

Unit 1, lesson 1.9, “Portrait of Myself as an Artist: Composition and Color Relationships,” provides support to analyze and discuss Isy Ochoa’s Self Portrait in the Studio. Guiding questions lead students to identify colors and evaluate how the artist uses value and color contrasts to add visual interest. Students investigate how materials and design choices create distinct effects, citing 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.

Unit 6 review includes a “Teach Through Inquiry” outline that guides educators through the protocol of describe, analyze, interpret, and evaluate. Educator guidance lists the specific vocabulary words used in evaluation criteria as monoprints, portraits from observation, maquettes, value, contrast, and papier-mâché. 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. The evidence for the first two objectives include discussion and review of concepts, and critical looking and responding. To achieve the proficiency four level, students must 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.

In unit 1, lesson 1.9, “Portrait of Myself as an Artist: Composition and Color Relationships,” students follow the describe, analyze, interpret, and evaluate protocol, describing what they observe in the image, analyzing how the artist arranges visual elements within self-portraits, and interpreting the visual evidence to consider artistic intent and what the self-portraits communicate about the subjects. Finally, students evaluate the artwork and its context to develop an evidence-based interpretation of how effectively the artists express intended ideas or themes. This sequence increases in complexity, as guidance specifically states that students use learning and will “apply what they learned in Lesson 1.7 about mixing colors and in Lesson 1.8 about color harmonies and still-life arrangements.”

In the unit 5 review, students also follow the “Art Criticism” protocol to examine works by Pat Courtney Gold. The artistic concepts discussed in the unit are nonobjective, geometric, dyeing, collage, emphasis, and weaving, which demonstrate increased rigor from unit 1 skills such as drawing from observation, portraits and proportions, contour and gesture drawing, value and shading, mood and expression, and color relationships. Again, students engage in “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 Explorations” that include educator guidance to instruct students on giving and receiving feedback. “Reflect and Present” guides educators to “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” also advises educators to have students reflect on their work before displaying it and exchanging peer feedback. Additionally, lesson 1.6, “Cardboard Sculpture: Unity and Variety in Form,” provides students the opportunity to give and receive feedback by reflecting on questions with a partner. After completing their sculptures, students reflect, then exchange feedback about their artworks, answering specific questions about their artworks and asking for suggestions for improvement.

“Guiding Responses to Art” in the Teacher Edition provides educator inquiry-based methods to lead discussion 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 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. Students refer to the evaluation criteria for each studio when evaluating their own and others’ artworks.

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

The materials provide a step-by-step process for educators to introduce peer discussion and feedback in unit 2’s “Portfolio Review, Reflection, and Presentation.” Students select their favorite unit 2 artworks that align with the Big Idea and explain why they chose those specific pieces. Students engage in pair 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.

Lesson 3.3’s “Teach Through Inquiry” section provides opportunities for students to give and receive constructive feedback. For example, in the “Reflect and Revise,” “Reflect and Present,” and “Art Criticism” sections, students share their visual stories with classmates and discuss their characters and plot. Students then participate in peer critiques through guided questions.

Evaluation for 5.2c
Materials provide opportunities for students to receive feedback on their discipline-specific artistic works from teachers and other students.

Students receive feedback from educators and peers in lesson 4.6, “Artful Teapots: Clay Methods.” Lessons include “Assess” activities with educator criteria to provide feedback for each project. During “Studio Exploration,” educators pause to provide ongoing feedback through the creation process.

Lesson 5.3’s “Teach Through Inquiry” provides opportunities for students to receive feedback. The unit review contains “Reflect and Revise,” “Reflect and Present,” “Assess,” and “Portfolio Tip” sections plus an evaluation rubric that provides guided questions to support the educator and students exchanging peer feedback on artworks in progress.

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

In lesson 6.1, the section “Teach Through Inquiry” offers educator guidance to support students as they refine their artworks. During “Studio Time,” educators offer feedback on the printmaking process, reminding students of important techniques and offering support as challenges arise. This ongoing guidance helps students refine their technical skills, make revisions, and develop the ability to use feedback to improve their artwork, which directly supports the expectations outlined in the TEKS.

Additionally, “Introducing Media and Techniques” in the Teacher Edition provides educator guidance to help students use different media and refine their artistic skills. For example, guidance on water-based felt markers suggests that students create watercolor effects by drawing on damp paper or applying a wet brush on top of lines, shapes, or textures drawn on dry paper.

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

Each lesson in the Student Edition includes “Things to Remember,” a section of studio evaluation criteria that enables students to reflect and refine their artworks in progress. For example, lesson 1.1, “Observing People: Proportion and Line,” provides a chart with guidelines about the typical facial proportions.

Additionally, in lesson 1.3, “Capturing Moods and Expressions: Exploring Media,” students have opportunities to reflect on their artwork throughout the creative process. For example, in the “Process Tip” inset and the “Reflect and Revise” section, students use sketches and guided questions to reflect on their work. The materials encourage students to experiment with a variety of compositions before identifying the most effective design.

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.

The materials provide STEAM unit planning documents. 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 legacies of people who lived in their community or region long ago.

Lesson 6.8’s “Teach Through Inquiry” offers guidance for making cross-disciplinary or cross-curricular connections. In the context of the cultural significance of Vietnamese water puppets and American parade balloons, students investigate puppet design using technological resources while researching historical figures through social studies. They then perform puppet shows that connect to theatre arts. “History Connections,” “Connections Across the Arts,” “STEAM Technology,” and “About the Artworks” sidebars provide educator support.

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.

Unit 4’s “STEAM: Focus on Science” includes student opportunities to engage in cross-disciplinary and cross-curricular activities. Students explore malleability in fashion through the designs of Iris van Herpen. They examine insect exoskeletons, the design of astronaut suits, and the engineering of a spider’s web, which are all systems of external support. They then connect these ideas to the mathematical concept of dimension.

In lesson 5.9, “Batik Expressions: Exploring a Resist Medium,” students explore patterns and forms found in nature during a nature walk. Students also learn about cultural traditions of creating Yoruba adire eleko cloth using indigo dye and complete batik designs. They also create costumes for a theatre or musical performance. “Social Studies,” “STEAM Science,” and “Connections Across the Arts: Theater” offer cross-curricular and cross-disciplinary activities to support student connections.

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” examine the philosophical approach to art instruction to guide educators, providing overviews of fifteen art movements 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.”

For example, lesson 5.8, “A Woven Tapestry: Symbols in Cloth” guides educators to engage students in a discussion on the craft and history of weaving and lead them through an exploration of multicultural tapestry designs. “About the Artworks” provides historical context, and the “History Connection” inset examines early European guilds. These activities align with the Grade 6, strand 3 TEKS, for 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).

Lesson 4.5, “Vessel Forms: The Coil Method,” introduces students to the historical context and stylistic elements of ceramics using various images. Students discuss the relationship of form and surface decoration as they examine the Vatican Amphora, which depicts Ajax and Achilles playing a board game, for example. Students examine diagrams, learn the parts of ceramic vessels, and engage in making their own pottery that meets studio evaluation criteria.

Additionally, in lesson 6.7, “Masks for Celebration: Working with Papier-mâché,” students investigate Venetian and Puerto Rican carnival masks and a traditional mask used in Indian religious festivals. Students then engage in a guided discussion about how masks can communicate traditions, beliefs, and celebrations.

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.

In lesson 3.2, “Cartoons and Commentary,” students evaluate historic political cartoons by analyzing social or political issues that concerned voters during events such as the 1860 Lincoln–Douglas debates. Students then complete social studies tasks in which they explain Pulitzer Prize–winning cartoons to analyze the historical events of their time. This activity directly aligns with the TEKS requirement for students to identify, analyze, and apply historical, cultural, and environmental contexts of original and peer-created artworks at a developmentally appropriate level.

Additionally, lesson 3.8, “Animal Symbolism: Theme and Emphasis,” allows students to explore images with Aztec and Native American symbolism, research their surnames and backgrounds to learn about their cultural heritage, and create a self-portrait combining human and animal characteristics. These activities and tasks correlate to the Grade 6, strand 3 art TEKS on historical and cultural relevance.