| RATIONALE
Why this lesson worthwhile?(reference developmental stage of students, significance to the “Big Idea”, importance of specific skills and knowledge that could be used for other purposes etc.) |
| In years 11-14, adolescents fine motor skills, and motor skills in general, are improving. At times, adolescents can have swift shifts in mood and have dramatic contrasts in personality and attitude. They are developing a strong sense of fidelity to their individual and group identities. (Wood, 131-181). Judith M. Burton describes the ways in which adolescents are beginning to tackle more complex thinking, such as their own identities, sex, right vs. wrong, and the opinions and ideas of the adults around them. She also emphasizes the difficulty adolescents face in art as they must pair their growing and changing bodies with their rich and complicated thought processes. With emphasis on moving images, this project encourages kids to relate to, explore and analyze meaning within a context they are familiar with. Learning to communicate narrative through images will foster a connection with current pop culture, advertising and graphic novels. As students try to decipher narrative through moving images, they will reflect on perception and identity; they will experience the facility of misunderstanding or misinterpreting meaning when analyzing images. Learning to read and communicate meaning through images will foster empathetic and analytic thought processes, showing students that there are multiple ways to understand narrative, multiple perceptions in life that we should be open to experiencing. Students will learn about the historical processes of animation and the moving image. Students will discuss and reflect on the importance of the moving image within current culture. Students will learn old forms of animation with new technologies. Students will discuss the development of narratives in animation and learn how to tell a story with pictures. Learning to analyze meaning and communicate ideas through images is an important skill as a visual artist and human being. |
| CROSS CURICULAR ALLIGNMENT |
| SCIENCE/MATH | ELA/HISTORY |
| Drawing on Virtual plane
Optical understanding of moving images Measuring, geometry, dividing circles Illusion of motion |
History of moving images
comics/graphic novels |
| LEARNING SEGMENT OBJECTIVES
Include NCAS standard(s) referenced by level with each objective. Cr, Cn, Pr, Re |
| What will the students understand from participating in this lesson?
Lesson Learning Objectives based on Big Idea: Students will learn the historical ways people have developed moving images. Students will learn about the processes of drawn animation, phenakistascope and zeotrope designs. Connecting to popular culture through manga, animation, graphic novels, and GIFs students will discover how moving images have evolved overtime and reflect upon their importance in our culture. They will discuss the context of the moving image within history, the facility of creating moving images in current culture and compare and contrast positive and negatives to these aspects. Students will analyze moving images to decifer meaning and discuss whether there is one “right answer” or one story to see. |
| VA:Cr1.1.8 Document early stages of the creative process visually and/or verbally in traditional or new media.
Document your chosen narrative through your research, reflective writing and sketches in a notebook. Collaboratively prepare and present a Moving Image Gallery show, displaying your processes of animation from flip book to zoetrope for viewers. Interpret shown examples of moving images analyzing how viewers interact with subject matter that comes to life through movement; analyze how well your use of subject, media and materials conveys your narrative to viewers. Distinguish different ways people have used moving image to represent, establish, reinforce and reflect culture. |
| What will students be able to do from participating in this lesson?
construct a phenakistascope—geometry, measuring and calculating appropriate angles, drawing in animation frames Contruct a Zoetrope—design in virtual space onTinkerCAD, mechanics and construction of a circuit and motors Develop multiple ways to tell a narrative through images, including moving images. Analyze and interpret moving image’s meaning through narrative. Collaborate in a curated group exhibition detailing students process and learning of moving images |
| LESSON: INSTRUCTIONAL STRATEGIES AND LEARNING TASKS
include warm-up/ motivational set/ student activities/ outcomes/ closure |
| INTRODUCTION/MOTIVATION |
| Day 1: Students get into groups and play pictionary and charades.
Discussion as a class: How difficult was it to describe an idea/object/noun to your partner? Why? What things/objects/tools/knowledge/experiences would make it really easy for your partner to guess the word? Make a list of as many things as you can! Did your partner misinterpret what you thought was really clear? How so? |
| Day 2: Show then the Japanese Manga cartoon. Comics with no text/text in another language.
Do you think you understand what the story is? What helped you understand? Why/how? Do you think you were able to understand the whole narrative or just the general idea? Does this cartoon make you imagine different things? Why/How so? Can you think of any time in your life that you were misunderstood or you misunderstood someone else? Why do you think that happened? Think of a story you would like to tell someone without using words. How would you tell it in pictures? |
| Day 6: Show phenakistoscope and zoetropes
Does anyone know how these work? Can you figure it out by looking at the similarities and differences of the “machines” they are on? Do these pictures create a narrative, Do you think of these depictions of moving objects/images as a narrative? Why why not? Think about a short narrative you would like to put onto one of these machines Write in sketchbook. Come up with 5 different designs to put onto 10 different panels. |
| Days 17-20: Group Reflection/Themes/Learning
What was the most interesting thing you learned? What was something you struggled with? When dealing with drawing on paper or drawing on tinkerCAD what did you like best? What did you like least? What is important to know about moving images? Why? If you could pick the best artwork in your moving images series what would it be and why? If you could display the most interesting process/the artwork that took you many tries to get right, which would you pick? Why? What did you need to redo/revisit? Which project did people struggle to read? Why do you think that happened? Students will get into groups and pick out a process piece and their favorite artwork to display. Students will reflect on these questions and then come together with their chosen works. Discuss how to display them and in what order and why… |
| STUDENT INQUIRY/EXPLORATION |
| Day 1: Pictionary/ group discussion
Day 2: Comic book/cartoon examples and discussions. Students will spend time reflecting on questions and write down ideas for their “only in pictures narrative”. Day 3: Work on their personal comics without pictures Day 4: Work on comics/ finish up/ Day 5: trade and discuss comics, don’t tell what your story is. Could your partner understand the narrative? Discuss your ideas, did they line up? Any suggestions for how to represent your visual ideas differently or better next time? Day 6: Show phenakistoscope and zoetropes. Talk about science behind optical illusion. Discuss narratives. Think of your own narrative to put into this machine. Day 7: Sketches and check-ins Day 8: Demo how to make a phenakistoscope. Work on them Day 9: Work on phenakistoscopes Day 10: Walk around/interact and post-it crit. Students rotate around the room interacting with each others phenakistoscopes and writing one positive and one constructive note for peers Day 11: Computer lab: Discussion on zoetropes, how to draw in virtual space. Day 12-13: work on zoetrope designs print Day 14: Drawing machines: Students work in collaborative groups to make drawing machines: familiarity with circuits, motors, switches. Day 15-18: Make spinning phenakistascope or Zoetropes with motors for animation narrative Day 18-21: class curated group exhibition of their moving images. Sketches, trials and final projects are discussed and exhibited. |
| REVIEW OBJECTIVES AND CLOSURE: |
| In groups students discuss positives/negatives of communicating through pictures.
In groups students discuss interpretations of comics. Reflect on a time they were misunderstood/why. In pairs, students trade their comics and try to interpret the narrative, without discussing what they meant. Did people read the same narrative? What were some interesting ways people understood or misunderstood your story? Group post-it crit. Students spend time seeing classmates moving images. Was the animation clear, did the short narrative work/make sense? Class curated group exhibition of moving images. Sketches, trials and final projects are discussed. Important learning, themes and explorations are discussed and voted on, students collaborate to exhibit all work and research related to exploration of the moving image. |
| TEACHER RESOURCE GUIDE |
| RESOURCES USED IN PLANNING THE LESSON
Include websites, books, etc. that informed your research about the lesson ideas. |
| Developmental/Teaching:
Blikstein, Paulo, Martinez, Pang. Meaningful Making. Constructing Modern Knowledge Press. |
| VISUAL REFERENCES
include relevant thematically related images that support the lesson. Include citation information. https://en.wikipedia.org/wiki/Phenakistiscope https://www.youtube.com/watch?v=ShzmzcJM7QI https://en.wikipedia.org/wiki/Kobutori_Jisan https://www.youtube.com/watch?v=mJQAck27l6s https://www.youtube.com/watch?v=oDvAqXUJhF4 Penelope Bangieu, Kobu-tori, Tagosaku to Mokubē no Tōkyō-Kenbutsu |
| RELEVANT RESEARCH
Information that informs the lesson content in terms of concepts, materials and techniques, art contexts and cultural contexts. |
| http://www.movingimage.us/collection/
https://paulbakaus.com/tutorials/performance/the-illusion-of-motion/ Blikstein, Paulo, Martinez, Pang. Meaningful Making. Constructing Modern Knowledge Press. Hafeli, Mary. Exploring Studio Materials. 2015, Oxford University Press. |
| MATERIALS, TOOLS, AND SET-UP
What do you need to prepare to be ready? |
| Journals, Large pieces of card stock, compass, protractor, ruler, tracing paper, dry drawing supplies, scissors, push pins, erasers,
TinkerCAD, 3D drawing demo, paper, |
| ASSESSMENT RUBRIC
INSTRUCTIONAL STRATEGIES AND LEARNING TASKS |
| Criteria | Beginning | Developing | Striving |
| Life skills:
Kindness; Time management; listening; compassion; persistence; sharing/communication (thoughts, ideas, feedback); Tolerance; |
Shows less than 3 of the 7 skills: | Shows 3-5 of the 7 life skills: | Shows kindness to others at all times; Uses time/resources well during class; Listens well to others and themselves;
Participates in a non-judgmental way during critique and discussions; demonstrates persistence when problems arise; Shares and communicates well with others; is tolerant of peers and points of view that are different from their own; sets an example for peers |
| Creative Components:
continuous learning from resources/peers; innovative individual style and originality; Gather data and resources; |
Evidence of 1 of the Creative components: | Evidence of 2 of the Creative components: | Shows interest and evidence in journal of learning new information from resources/peers; work is original doesn’t look like anyone else’s’; Brings in personal knowledge/experiences to show evidence in interest of outside data/sources; |
| Technical skills:
Control materials to get the type of form, style, texture, shape, line wanted; shows experimentation with materials; shows connection of intention/meaning to material use |
Shows some knowledge of technique with materials AND shows some experimentation AND connection of material use to meaning/intention | Shows some knowledge of technique with materials AND shows some experimentation OR connection of material use to meaning/intention | Evidence of in-depth experimentation of materials in journal; Evidence of control over techniques and materials; strong connection of material use to meaning/intention |
| Aesthetic/Craft awareness:
Attention to detail; pride in the presentation and quality of work (no rushing, bent or disrupted paper/display); Knowledge of principles and elements of art and design help communicate ideas effectively |
More time was needed to pay attention to detail AND quality of work and presentation needs more attention OR my ideas struggled to be effectively communicated through the use of the principles and elements of design | More time was needed to pay attention to detail OR quality of work and presentation needs more attention OR my ideas struggled to be effectively communicated through the use of the principles and elements of design | Entire artwork is taken care of–no rips, bending, display quality is intentional; Visible pride in presentation and quality of work; Intentional use of principles and elements to communicate idea effectively; |
| Written comments on seen and unseen criteria |
Check out the link to the process of making phenakistoscopes and zoetropes, more images and videos.
wbta.ART 