Art & Science Connected

iArt and Science ConnectedAn Evening for Educators at

The Springville Museum of Art

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Art & Science ConnectedContents

Carel Brest van Kempen bio (speaker) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vArtists & Artworks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . viiDesign a Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1Astronomy and Art: Faces (Phases) of the Moon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5What Can You See in the Dark? Light & Physics & Value Drawings . . . . . . . . . . . . . . . . 13Basic Color Theory, Experiments with Color Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Let It Snow: The science and beauty of snowflakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213-Dimensional Forms From Platonic Solids Art and Solid Geometry . . . . . . . . . . . . . 29Rainbows, Prisms And Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39The Sights and Sounds of Geometry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45The Science of Proportion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51Who Needs Sagebrush? Utah Environments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Im Being Eaten By a _______? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65Shaping Utahs Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69The Science and Art of Invention . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75Pirates, Seascapes, and the Aesthetic Experience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83Creating Your Own Biosphere . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89Ideas for Art & Science Lessons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93Symmetry in Nature: Bug Drawings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101Camouflaged Butterflies and Natural Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105You have two sides to your brain now use it! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109Right Brain /Left Brain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115Bone Up on Science with ART . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121Becoming an Art Scientist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

vArt & Science ConnectedCarel Brest van Kempen

With over 20 years as an artist, naturalist and author, Carel Brest van Kempens artistic mission has always been to deepen awareness of the natural world and how it functions . His work has been ex-hibited worldwide in such venues as The Smithsonian, The American Museum of Natural History, The British Museum and The National Museum of Taiwan . He has been named one of 100 Most Honored Artists of Utah by the Springville Art Museum (2002) and one of 14 Master Signature Members of the Society of Animal Artists (2008) . He has illustrated over a dozen books, including Dinosaurs of Utah (1998), Biology of the Gila Monsters and Beaded Lizards (2005), Biology of the Boas and Pythons (2007), Urban Herpetology (2008), and Conservation of Mesoamerican Amphibians and Reptiles (2010) and authored the popular coffee-table book, Rigor Vitae: Life Unyielding (2006) . In addition to painting, he actively writes and blogs about natural history and conservation themes and serves on the board of Science Art-Nature, a Stanford-based non-profit devoted to raising the prominence of Sci-ence Art and the benefits of combining the accuracy of science with the evocative power of art.

For more information and to see more art, go to smofa.org and http://www.cpbrestvankempen.com/

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Art & Science ConnectedArtists & Artworks

Springville Musuem of Art images

Osral B . Allred, Front Hook-up (1984)

Carlos Andreson, Curtain Time (1940)Carlos Andreson, A Break from Plowing (1930)Carlos Andreson, Abstract II (1955)Phillip Henry Barkdull, Seagulls on Utah Lake or The Gulls (1930)

Wulf Erich Barsch, In the Valley of the Sun and the Moon (2000)

Wulf Erich Barsch, Towards Thebes (1985)

Floyd E . Breinholt, Box Canyon (1967)Carel Brest van Kempen, Crash-Barrier Waltzer

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Black-billed Magpie Carel Brest van Kempen, Lizard Relay: Jaguarundi with Green Iguanas and

Carel Brest van Kempen, Riparian RashomonCarel Brest van Kempen, Barn Owl PortraitRoyden Card, Desert II (1978)

Royden Card, Red Rock IIJeanne L-L Clarke, Entertaining Favorite Ladies IIUpper right,(Isaac) Loren Covington, Angels Landing, Zions (1925) Cyrus E . Dallin, Pinnacles: Cathedral of the Pines (1920)

Silvia L . Davis Guest (1994)and The Colt (1995)Mabel Pearl Frazer, Sunrise, North Rim Grand Canyon (1928) Alvin L . Gittins, Card Players (1959)Ranch S . Kimball, Entrance to Zions (1934)Catherine Kuzminski, Kimono Teapot (1990)

Robert Marshall, Snow Canyon (1984)Michael Mogus, Centurys End (1977)Lewis A . Ramsey, Towers of the Virgin, Zion Can-yon (Three Patriarchs) (1931)Lee Greene Richards, Autumn Stream (1930)

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Mary Ann Free Smith, Grey Squares (1995)

Edith Taylor Roberson, The Dance (2003)Sven Birger Sandzen Moonrise in the Canyon, Moab, Utah (1928) Trevor Jack Thomas Southey, New Bloom: Portrait

of Olive Patterson of Alpine (1977) Nathaniel Irving Spens, Embarkation from Scotland (1867)

Frederick Judd Waugh, The Open Sea (1900)Jerry B . Yazzie, Coke at the Fair (1990)

Artworks & Images from other sources

Arlene Braithwaite, Ode to Sagebrush: A Hidden Picture (2003)Arlene Braithwaite, Lunar Projections (2003)Plate XIX of Studies among the Snow Crystals . . . by Wilson BentleyPlate XIV of Studies among the Snow Crystals . . . by Wilson Bentley Anthony Arrigo, Full Wolf Moon Risingda Vinci Inventions, Crossbow and Catapultda Vinci Toothed Gears

da Vinci Helicopter and WingLeonardo da Vinci, Self-Portrait in Red Chalk ca . 1510-1515Diagram of a human female skeleton

xWill E . Floyd, Sun & ShadeWill E . Floyd, I Might Smile

Will E . Floyd, Winter SageA last quarter crescent moon above Earths horizon Primary rainbow and a secondary rainbowRainbow in Germany, by Dr . Joachim Opitz, 2005Rainbow at Jasper National Park, Alberta, Canada, by Wing-Chi Poon

Godfried Schalcken, Self-portrait (1694)JMW Turner, Snow Storm - Steam-Boat off a Harbours Mouth exhibited 1842

Taj Mahal, Agra, India .Baron Caterpiller by WohinAuswandern 11Nov 2009Christmas Beetle (Anoplognathus viriditarsus)

Leaf Tailed Gecko (Uroplatus phantasticus) by gripso banana pruneOwl butterfly at the London Butterfly House in Syon Park, by wwarbyA Fibonacci spiral that approximates the golden spiral, using Fibonacci sequence

Golden Spiral in Bromeliad by Grupo Firenze, 28 May 2008

1Elementary Visual Art & Math LessonBy Joseph GermaineThis is a very successful kindergarten and first grade project that ties personal visual creativity with mathematics . No one gets to invent what the symbol of the quantity (1) looks like . It is a done deal, and our jobs as budding Math students is to memorize someone elses symbol and then regur-gitate on call . Most students are empowered by learning this seminal symbolism from the grown-up world . However, there is no ownership avail-able in this process . Some students want terribly to draw the numbers my own way . All students will be empowered, intrigued, and engaged if they are encouraged to decorate their favorite num-ber in their own personal way . This may help lay groundwork for the actual reality that mathemat-ics is not just about numbers but is a quantitative vocabulary that discusses all things in and out of the world we know . Once a student (at any age) realizes this simple truth they are no longer mere victims of Math but have the option of becoming players .Most of us stop doing math when we no longer have a class curriculum that requires it . Why? Because we think that mathematics is about numbers and not about us or the world we live in . I can prove this: I built a deck in my backyard last summer . After drawing it I realized that to actu-ally build it I would have to translate my drawing into the quantitative vocabulary of math . I also had to use numbers when I went to the lumber-yard . It is a good thing that I learned at an early age that mathematics was about me . What is the most complicated math problem in your real everyday life? How many years of math instruc-tion did it take you to figure out how to balance

your checkbook or figure out how many miles per gallon you were getting? OBJECTIVE: Students will demonstrate an under-standing of and engagement with the writing and reading of numerals (the symbols we use to write down numerical values) by choosing a favorite number and creating a redesigned version of that number suitable for framing and exhibition .This is an ART and MATH lesson for the primary grades, but I have successfully used this lesson with older students .

The Big 9 by Nino, 4th gradeNine is my favorite number because it is 3X3

Art & Science ConnectedDesign a Number

2STATE CORE LINKS: USOE Rainbow Chart: Kin-dergarten, Elements of Art, Shapes: created by a lines that encloses an area . First Grade, Research/Create, Study and observe the use of shapes in illustrating a number .MATERIALS: Pencil, paper, ballpoint pens (black and colored), colored pencil or crayonPROCESS: In visual art, we would call this a shape design lesson . In math, this lesson is about familiarity and personal ownership of nu-merical symbols. Students first choose a number, their favorite number . Remind students to choose it based on what it looks like, not on its quantita-tive value . Good luck! Depending on the age group, students can choose a one-digit number or a more complex multi-digit number . Have the students fold a sheet of copy paper into four windows and design four brief ideas for the project . If you only have one idea to choose from, it is not only your best idea but it is also your worst idea . The number should be ren-dered as a large and hollow shape . Help students see the basic geometric shapes that combine to make hollow number shapes . Art is a kind of thinking, so let the students think . Once they have chosen their best design, students will transfer the idea onto a sheet of good paper like sulfite white or cardstock. They should draw the image lightly with a pencil remembering to fill the whole space with a large image . The border is optional, but I would highly recommend it, espe-cially for exhibition . Students will create design textures for inside the number shape and perhaps some kind of texture, design, pattern, or image for the background . For this project we will use black and colored ballpoint pens .Help students with the idea of carefully coloring and shading the project with the pens . Hints for neat shading and coloring: 1 . Shade from light to dark . 2 . Use short strokes, all the same direction (no scribbling) . 3. Work slowly and carefully (In art, the first one finished is not the winner, it is the best

one finished.) (When you are finished it is time to see if your artwork is finished also.) 4 . Cover the whole space, with no white paper showing through the scribble lines . 5 . Dont rub your hand over the place you just colored (always color away from your hand, not into it) .

This assignment can also be done with textures and patterns and designs inside the number shape . Some numbers, such as the number 8, lend themselves to other imagery . Let students explore the visual stimulation of simple numbers .SOURCES: Big Board Books Colors, ABC, Num-bers, by Roger Priddy. Jos Big Question, by Barbara Parks (a childrens book of beautifully illustrated letters and numbers) . The Giraffe Numbers Book, by Gene Yates .

Quatro means 4 by Hannah 4th gradeI like 4 because I am in the fourth grade. I thought it

was spelled with a C but it is spelled with a Q.

3EXTENSIONS and VARIATIONS: This project can be done with other media beside ballpoint pens . Try watercolor and marker pens . This work can also be constructed as a paper cut, once the basic design has been developed . If you are an adven-turous soul, try ceramic clay sculptures of My Favorite Number .Of course, this project can be done with literacy symbols that someone else invented and we just memorize them and their predetermined sound and meaning . Make this a personal monogram project .

Columbus Sailed the Ocean Blue by Mailyn, fifth grade

In fifth grade we study about explorers and this is an important number.

One Plus Three Equals Four by Kennadi, fourth gradeI know this looks like 13 but it is really a secret

way to write what grade Im in.

Right, My Teddy Bear Eight It, by Sabrina, 5th gradeYou probably think this is a teddy bear. It is not. It is my favorite number. It is the number eight. I

like it because it is the most round of all the numbers. Even zero because zeros only have

one round hole in it.

4The Eyeball Mask, by Devi, 3rd grade.If you turn the eight on its side it looks like

something else but it is still eight.This is my favorite number because I ATE it.

That is a joke!

5Art & Science Connected

Astronomy and Art: Faces (Phases) of the MoonElementary Visual Art & Science Lessonby Joseph Germaine

OBJECTIVE Students will demonstrate an understand of the traditional view of the moon in native cultures and the significance of the Lunar Calendar by re-searching in Native American and Hawaiian lore and mythology the names and meaning of moon phases and then creating an original work of art interpreting a phase of the moon .STATE CORE LINKS USOE Visual Arts Standard 4, (contextualizing): The student will interpret and apply visual arts in relation to cultures, history and all learning . Objective 1, Compare the arts of different cultures to explore their similarities and diversities . USOE 3rd Grade Science Core Standard 1: Stu-dents will understand that the shape of Earth and the moon are spherical and that Earth rotates on its axis to produce the appearance of the sun and moon moving through the sky .PROCESSFind some audio/visual resources to show stu-dents something about the phases of the moon . See images on CD and sources for bibliography of media . Try your local library for some excellent resources . Provo Library, Orem Library, and SLC Library all have appropriate media for this lesson . Remember that you can purchase used books on line very inexpensively . Students should be aware of the astronomical reasons for the phases of the moon . Start your explanation by asking pointed questions like, Why can you see the moon during the day sometimes? Where does the moon go when you cant see it? Why can we even see the moon at all? What causes the moon to change its shape? How many days does it take to complete

the Lunar Cycle? If you introduce you lesson with compelling questions that the students buy into, you will have their attention because it is their questions you are answering .It can be tricky trying to explain the phases of the moon to elementary students. Likewise, it is diffi-cult for the students to understand . If you take it one small step at a time it is accessible . Help chil-dren understand the cyclic nature of the moon, which is divided into 4 basic parts: new moon (where you see no moon at all), first quarter (only

A last quarter crescent moon above Earths horizon as seen from the International Space Station.

NASA, International Space Station Imagery, 5 September 2010, Public domain

http://en.wikipedia.org/wiki/File:Expedition_24_Crescent_Moon.jpg

6half of the moon can be seen), third quarter: (only half of the moon can be seen), and full moon: (the entire moon can be seen) . Your moon phase lesson should discuss the earth and moon orbits . The moon orbit around the earth is about 28 days and is the basis of lunar calendars . Explain how the positions of the earth, sun, and moon affects the phases of the moon and which part of the moon reflects sun light so we can see it. Explain that the moon can be seen both day and night, and why sometimes we cant see it at all .Keep it fun and interesting for the students . Re-member that students will understand the phases

Kane by Laila, 4th gradeThe Kane Moon is the 27th phase out of 30 for Hawaiians. It was the sign for prayer for a good

harvest.

As the moon makes its monthly journey around the earth, the side of the moon refecting the sunlight is viewed from different angles. The line drawn through each image of the moon shows what part of it is visable from the northern hemisphere.

Firstquarter

Waxing Gibbous

Full

Waning Gibbous

Thirdquarter

Waningcresent

New

Waxing cresent

Phases of the MoonOriginal graphic by

Mark Schneider (modi-fied Nov 5, 2010)

gov, so public domainhttp://kids.niehs.nih.gov/lunar/home.htm

One website pointed out that a graphic such as this is most useful

after the students have gotten the basic idea,

so use a demonstration first.

7of the moon better (and enjoy the lesson more) if you use a variety of teaching tools such as hands-on experiments using flashlights and playground balls, having students act out the orbits, diagrams, and pictures, as well as verbal explanations .

Once the science of moon phases has been discussed and understood, it is time to invest ourselves in our own interpretation . Share one or more cultural approaches to the moon phases, their names and meanings . Let students choose a culture and or a phase to render as a personal art project . We like to do this as a pen and ink project and then choose color medium like watercolor, colored pencils, or colored ballpoints . We try to avoid marker pens only because we cant mix the colors, and they only have one intensity . The moon illustration should have something to do with its name and meaning . Make it personal by asking, What do you think a Hunters Moon or a Hoku Moon would look like? What ever the answer is, it is correct because the question was, What do you think?

ASSESSMENT: For a self-assessment process, have students write a short statement describ-ing the visual choices they made in their moon rendering . For older students, have them write a short story that includes a description of their moon motif .SOURCES: As a source for names and descrip-tions of moon phases I will include a short list on Native American and Hawaiian names, but I highly recommend that you and your students engage in some research. The information will fit your needs better and be more significant if you find your own answers. For names and images of other than full moons, I recommend two websites listed below: Farmers Almanac and Hawaiian Moon Calendar .FULL MOON NAMES: In Hawaii there are four full moons (of course there arent really, but the Hawaiians planted, harvested, fished, and built by the moon . It is very hot and humid during the day . Night work was preferable and a big Ole Pau by Kevin, 5th grade

This is the 23rd phase in Hawaii. It was a little less than a half moon and was the end of no working or planting or fishing. This was a time to tidy up and have some relaxation without getting in trouble.

The Blood Moon by Ryan, 5th gradeSometimes the Blood Moon is called the Hunt-

ers Moon. It is the first full moon after the Harvest Moon. Some Indians say it red because there was a

lot of smoke in the sky at night.

8full moon was important . The four full moons were: Hua, which means egg because it was not quite full; Akua, which means Goddess as well as corpse, devil, and idol; Hoku, which actually means star because it was the fullest moon and made it hard to navigate by the stars; Mahealani, the last night of full moon, the 16th phase of the lunar cycle, and a very good night for planting and fishing.In Native American lore as well as early pio-neer folk lore there were several names of the full moon based on which season (the seasonal change in the tropics is so minimal that these monthly distinctions were not emphasized unless you were a Kahuna Mahina, (Moon Priest) and had sacrificial duties to perform. This is only a list of some of the full moon names:January: Old Moon, Wolf Moon . February: Snow Moon, Hunger Moon, Opening Buds Moon . March: Maple sugar Moon, Worm Moon, Sap Moon, Crow Moon, Crust Moon . April: Frog Moon, Pink Moon, Planters Moon, Grass Moon, Moon of the Red Grass Appearing . May: Flower Moon, Budding Moon, Milk Moon . June: Straw-berry Moon, Rose Moon, Flower Moon . July: Blood Moon, Buck Moon, Thunder Moon, Hay Moon . August: Moon of the Green Corn, Sturgeon Moon, Corn Moon . September: Harvest Moon, Fruit Moon . October: Hunters Moon, Moon of Falling Leaves, Harvest Moon . November: Beaver Moon, Frost Moon . December: Cold Moon, Long Night Moon .What is a Blue Moon? VIDEO: Astronomy 1 by Libraryvideo .com . This is for older students and includes lessons on an-cient astronomy, lunar phases, and the rotation of the Moon . MAHINA: Days and Nights of Hawaii, VHS tape .AUDIO CD: Phases Of the Moon: Traditional Chinese Music, various artists .AUDIO TAPE (CD): Native American Star Tales, by Lynn Moroney . This book includes Native American folk tales and sky lore . This three-au-dio tape set includes The Feather Moon and Tales of the Sun and Moon along with

seasonal lore revealing how Native Americans viewed the universe around them . There is a plethora of music and stories about the moon . Use them as background ambience while students quietly work on their projects .BOOKS: The Girl Who Married the Moon: Tales From Native North America, (fiction) by Joseph Bruchac . Native Americans Today: Resources and Activities for Educators, by Arlene B . Hirschfelder . Full Moons Indian Legends of the Seasons, by Lillian Budd . Faces of the Moon, by Bob Crelin and Leslie Evans . Phases of the Moon (Patterns in Nature series), by Gillia M . Olson . Exploring the Sky: Projects for Beginning Astronomers, by Richard Moeschi . Hawaiian Tide & Moon Charts 2010 Wall Calendar, by Hi Tide Hawaiian Resources Co . Goodnight Hawai-ian Moon, (fiction) by Dr. Carolan and Joanna F. Carolan .Photographic Atlas of the Moon, by S .M . Chong, Albert Lim and P .S . Ang .

The Painters Moon, by Danica, 3rd gradeI thought this was the painters moon and I love to paint but when I read it again it was called the Planters moon. Its OK because I like to plant flowers too.

9The Butterfly Moon, by Missy, 1st gradeI love butterflies.

Akua, the Fishing Moon, Lane, 5th gradeAkua means God, Goddess and Corpse and Devil and Idol in Hawaiian. Sometimes it meant Sacred Ones. This is the second full moon in Hawaii and is almost the perfect full round shape. This was a

good night to go fishing because you could see the fish. Offerings were made on this night because the

Hawaiians believed that the Gods and Goddesses walked around with the people.

The Fish Moon, by Ronnie, 2nd gradeThe real name is Akua. I was a full and good to go fishing. I am a Hawaiian. I like fish. I like to see the

moon.

The Worm Moon, by Isaac, 2nd gradeThe Worm Moon is full and in March and the

worms start to crawl out of the dirt. I like worms.

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WEBSITES: www.instanthawaii.com/cgi-bin/Ha-waii?...moon Hawaiian Moon Phases & Names .www.hawaiianmoons.com/ Hawaiian Moon Nameswww.angelfire.com/sports/hunthishmaui/moon.html Hawaiian Moon Calendar http://www .imiloahawaii .org/57/ Hawaiian Moon Calendarwww.farmersalmanac.com/full-moon-names/ Full Moon Names and Meaninghome.hiwaay.net/-krool/Astro/moon/moonnames.html Moon names for many tribes and other lunar cultures .If some of the media is OLD and OUT OF PRINT I apologize, but please realize that I am old and out print myself .EXTENSIONS/VARIATIONS: A fun and educa-tional project related to moon astronomy is to study the various cultural myths about the moon and then draw or paint a response to the story . Mythological characters associated with Moon Stories: African: Mawu, Aztec: Coyolxauhqui, Hindu: Soma, Roman: Diana, Greek: Artemis, Maori: Rona, Inuit: Anningan, Japanese: Tsuki-Yomi, Mayan: Ix_Chel, Mamaluran: Iae, Chinese: Heng-o, Sumerian: Sin . Of course there are many more . Do some research and thrill yourself . It will happen .Another great extension of the Moon Project is to keep a Moon Journal . This is simply a log of your observations . Keep track of time (try to make ob-servations at the same time each night), weather and sky conditions (note any interesting stars) and describe the phase of the moon . A Moon Calendar is helpful . Scientists make illustrations to go with their writing, so that would be a good addition to your journal . Since very few Elemen-tary students can stay up very late, try doing this as a rotating group project . A Moon Project that my 4th 5th and 6th grade students look forward to each year is the Sun, Moon, and Star Ceramic Mask project . They de-sign a mask based on one of those celestial ob-

jects out of clay and glaze . These are wall hang-ings and not intended to wear .Advanced Variations: Use colored media or photography to depict the moon . Have students review information on the phases of the moon and then choose one to interpret in an artwork .SOURCESA good source of secondary info on the moon .http://jrscience .wcp .muohio .edu/lab/MoonLab .htmlAnother possible source:http://www .tutorvista .com/physics/solar-sys-tem-earth-moonYour school library should also have materialsArtworksWulf Erich Barsch, In the Valley of the Sun and the Moon (2000) SMA, on CDArlene Braithwaite, Meteor Shower, on CDFrom smofa .orgAlbert Lambourne, MoonlightSilver Lake, Cot-tonwood Canyon (1880) John B . Fairbanks, Moonlight on the Marshes in Springville (1906) Fred Hunger, Morning-White, Shadows and Mono-liths (1974) John Francis Murphy, New England LandscapeSven Birger Sandzen, Moonrise in the Canyon, Moab, Utah (1928)PhotographsSearch for moon on this flickr sitehe has some wonderful photographshttp://www.flickr.com/photos/seldom_seen/A site with Astronomy Picture of the Dayhttp://antwrp .gsfc .nasa .gov/apod/astropix .htmlUse an image search for photographs moon .

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Anthony Arrigo, Full Wolf Moon RisingOctober 26, 2010 6:50:06 AM MDT

Used by permissionhttp://www.adventuresinastrophotography.com/images/the-moon/Full-Wolf-Moon-Ris-

ing-20080121-1280.jpg

Wulf Erich Barsch, In the Valley of the Sun and the Moon (2000) Oil on canvas 71-1/2 x 54Springville Museum of Art

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Art & Science ConnectedWhat Can You See in the Dark?Light & Physics & Value Drawings

Elementary Visual Art & Science Lessonby Joseph GermaineOBJECTIVEStudents will demonstrate an understanding that light generally travels in a straight line and of how light illuminates and casts shadows by creating an original pen and ink drawing of What Can You See In The Dark?UTAH STATE CORE LINKSUSOE Rainbow Chart: Fourth Grade, Elements of Art, Light side/dark side and Cast Shadow . MATERIALSBallpoint pens or pencil and paper and a good imagination .You can use the black and white photographs included in the packet as well as the artworks for discussing how shadows fall and what the effects of directional light are on people and objects .The photographs and artworks are listed under sources . If your classroom can be darkened, you can have students demonstrate with a flashlight or spotlight .PROCESSUse a strong light, either a spotlight or a strong flashlight to demonstrate how the light creates both light and dark sides of the objects and posi-tive and negative cast shadows of light and dark . Discuss with the students the parts of the shading and the cast shadows . Use some black and white photos to see how the shadows look in two-dimensions . Use group brainstorming sessions to discuss sources of illumination at night or in darkened rooms such as lights, fires, lamps, stars, moon, decorative lights, headlights, house lights, flashlights, and so on. Have students imagine a completely dark place or a night scene and deter-

mine where the light source would be and how it would cast shadows and highlights . As students begin to focus on their ideas of what can be seen in the dark, have them address questions such as, From where is the light coming? How does it fall on the objects? What is the intensity (near and far) of the light? Are there cast shadows? Are there shadows in the dark? Have students use accurate shading techniques to render their ideas . The light source can be included in the drawing .

SOURCES Drawing Light and Shade: Understanding Chiar-oscuro (The Art of Drawing) by Giovanni Civardi . Light, Shade and Shadow (Dover Books on Art Instruction), by Lucy Cavendish . Light and Shadow In Drawing, by Parramons edi-torial Team . Light: Shadows, Mirrors, and Rainbows (Amaz-ing Science), by Rosinsky, Natalie M, Boyd, and Sheree .There are all kinds of web sites and youtube videos on shading . Here are a good web site

Carlos Andreson, Curtain Time (1940) SMA

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and a video on shading a sphere: http://www .artinstructionblog .com/drawing-lesson-how-to-shade-pencil-drawings-by-miranda-aschenbrennerhttp://www .you-tube .com/watch?v=_WufjjmGvxg&feature=relatedArtworks & Photographs:Carlos Andreson, Curtain Time and EncoreRembrandt, Night WatchGodfried Schalcken, Self-PortraitWill Floyd, I Might Smile, Sun & Shade, and Winter SageRobert Nickelson, Lucia by CandlelightEXTENSIONS/VARIATIONS: This project can be done in color using pen and ink and watercolor, or value rendering with colored pencil . There is no color in moon and starlight except the color of the moons reflection.

The Street Light, by Ronnie, 2nd grade.I can see a street light in the dark.Robert Nickelson, Lucia by Candlelight

Student examples followWill Floyd, Sun & Shade used by permission

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A Little Candle in the Dark, by Matia, 3rd gradeIf everything was dark, and you lit a candle you

could see it and around it.

The Flashlight, by Parker, 5th grade

Sitting Around the Campfire, by Bowdee, 5th gradeWhen you go camping there arent any lights but

there is the moon and stars and bright burning campfire to light up the night.

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Young Elementary Visual Art & Science Lessonby Carrie WilsonOBJECTIVESUTAH STATE SCIENCE COREScience Benchmark (K-2) Standard 1 The Processes, Communication, and Nature of Science Students will be able to apply scientific processes, communicate scientific ideas effectively, and understand the nature of science . Generating Evidence: Using the processes of scientific investigation (i.e. framing questions, de-signing investigations, conducting investigations, collecting data, drawing conclusions) Objective 2 . Communicating Science: Communicating effec-tively using science language and reasoning Objective 3 . Knowing in Science: Understanding the nature of science UTAH STATE VISUAL ARTS RAIMBOW CHART:Kindergarten: Holding a brush, Mixing Colors, Identifying Colors1st Grade: Identify Primary Colors 2nd Grade: Secondary, Warm, Cool and Neutral ColorsVocabulary: Basic Color, Red, Yellow, and Blue, Color Wheel, Primary Colors, Secondary ColorsMATERIALSIndex Cards (any size)WatercolorsBrushesBowls for waterNewspaper to cover the table or a tarp

Copies of the Color Wheel Experience Worksheet Pencils Some of the listed artworks (the first two are on the CD)Jeanne L-L Clarke, Entertaining: Favorite Ladies II (1992) (Good example for the primary and secondary colors .)Lee Greene Richards, Autumn Stream (1930) (Good example of complementary color scheme .)Artists: Frank Stella or Mark Rothko (any work)Movement: Color Field / Abstract ExpressionistJosef Albershttp://www.albersfoundation.org/Home.php(Good examples on how colors influence each other when placed together .)

Lee Greene Richards, Autumn Stream (1930) SMA

Art & Science Connected

Basic Color TheoryExperiments with Color Mixing

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Web Resources for information:http://www.colormatters.com/science_faq.html (Great page on color theory and other really cool things about color .)http://www.color-wheel-pro.com/color-theory-ba-sics.htmlhttp://en.wikipedia.org/wiki/Color_scheme(Color Schemes)http://www.colourlovers.com/blog/2008/03/24/mod-ern-color-field-artists-using-the-full-spectrum/(Cool artist images like the work of Jim Lambie, who uses colored tape for his installations .)http://www.engineeringplanet.rutgers.edu/pdf/les-sons/engineering/civil_enviromental/2004/lesson5.pdf(Great lesson plan about why we see the color blue in the sky: Check it out!)Books:The Dot, by Imma S . and James H . BlackACTIVITY Teacher: Color is fun and all around us! Start the conversation about color simply by asking the students what colors they see in the room and showing where they are by pointing . You can talk about how color makes you feel by holding up something red or blue . Show some of the artists listed and talk about how the color effects how we see the artwork . Demo how to use the watercol-ors, but not how to mix the primary colors togeth-er, use two secondary or complementary colors (colors opposite on the color wheels), so that it will not interfere with their experiment . (Remind them to wash the brush inbetween each color .)1 . Have the students break into small groups to work on the worksheet . They will do the water-colors individually but compare the results with each other . Just have the students staple the index cards to the worksheet . EXTENSIONGive the students another index card and just let them play with the watercolors and hang them up in a grid . Then talk about how the different colors influence or change in relationship to each other.

ASSESSMENT Did they circle the color they thought it would turn into when mixed?Did they use a brush to paint the watercolors?Can they identify the primary colors? (Example, a tree is green .)2nd graders:Can they identify the primary, warm, cool, and neutral colors?Other Ideas:Have 2nd graders show the primary mixes and then the secondary mixes .

Even very young children can have fun mixing colorshttp://leisurelanelegers.blogspot.com/2008_11_01_

archive.html

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The Color Wheel ExperimentWHAT IS GOING TO HAPPEN?

Name:____________

Yellow Orange Green

BlueRed

=Primary Colors (Red, Yellow, and Blue) =Secondary Colors (Orange, Green, and Purple)Questions: What is going to happen when I mix colors together? What do you think?Mixing RED and YELLOW together, I will see:(Circle one) Purple Orange GreenMixing BLUE and YELLOW together, I will see:(Circle one)Purple Orange GreenMixing RED and BLUE together, I will see:(Circle one)Purple Orange GreensAfter mixing the colors what happened? Circle oneRed + Yellow= Purple Orange GreenBlue + Yellow= Purple Orange GreenRed + Blue= Purple Orange GreenAre your results the same as the rest of your group? (Circle one) Yes or No

Purple

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Elementary Science & Visual Art Lessonby Vicki GehringOBJECTIVEStudents will understand that snowflakes are made up of six-sided crystals and learn to fold paper to make six-sided snowflake shapes.

STATE CORE SCIENCE OBJECTIVES Understanding the process for gaining knowl-edge, understanding the natural world of learning process and thinking skillsMATERIALS white copy paper and scissorsLESSONThe science of crystals and snowflakesCrystals are solid material in which the atoms are arranged in regular geometric patterns . They start to form by a process called nucleation . Some of the things that cause nucleation or cause crys-tals to form are,EvaporationAn adjustment in PHLower temperaturesThe major factor in the formation of snowflakes is lower temperature .Crystal formation is very much like the growth of living things, and scientists are still doing research on how they are created and grow . Ice crystals were thought to be flat, but the research of Yoschinori Furukawa, is beginning to indicate that they may actually be three dimensional . To see actual examples of how snowflakes grow, go to Kenneth Libbrechts site at http://www .its .caltech .edu/~atomic/snowcrystals/movies/mov-ies .htm

For an excellent description of how snowflakes form, go tohttp://www .lifeslittlemysteries .com/how-do-snowflakes-form-0438/Or, go to http://www .its .caltech .edu/~atomic/snowcrystals/photos/photos .htmIf you click on Designer Snowflakes, you can see the progress of a snowflake, as it grows.

Ordinary hexagonal dendrite snowflake.Source/credit

http://www.lpsi.barc.usda.gov/emusnow/Selected/5994.jpgCaptured by the Beltsville Electron Microscopy Unit, part of

the USDA.Public domain

Although it is possible that some snowflakes may appear alike, particularly small, simple snow-flakes, every complex snowflake is thought to be different because no two snowflakes form under the exact same conditions . The dust particles, the temperature, and other factors are unique to the formation of each snowflake crystal. For example, a few degrees difference in temperature can make the difference between a flowery looking snow-flake and a snowflake with spiky points. The only consistent element or characteristic of snowflakes is that they are six-sided crystals . In other words, they have six identical sections .


Let It Snow: The science and beauty of snowflakes

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An American farmer named Wilson Bentley was one of the first people to photograph snowflakes. He figured out how to attach a camera to a microscope, and, after much experimentation, was able to photograph a snowflake. He eventually made 5,000 photographs of snowflakes and became a pho-tographer fulltime. He became known as The Snowflake Man. http://en.wikipedia.org/wiki/Wil-son_Bentley

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Plate XIV left, and Plate XIX, above, of Studies among the Snow Crystals ... by Wilson Bentley, The Snow-flake Man. From Annual Summary of the Monthly Weather Review for 1902.http://commons.wikimedia.org/wiki/File:SnowflakesWilsonBentley.jpg public domain

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The Project: Folding a square piece of paper in the proper way to cut out a shape that will imitate a snowflake crystal.Folding method 1:Step I - Fold a piece of copy paper and cut off to make it square .

Step 2 - Leave the paper in the triangle shape and fold in half again .

Step 3 - Open the second fold . Put the folded edge of the triangle toward you, and using the fold line as a guide, cross one point of the folded edge of the paper at an angle from the fold line to about halfway between the open edges and the fold line . Make a soft fold

Step 4 - Repeat the above process with the other side .Step 5 - Adjust the folds so the edges and the folds line up with each other . When thealignment is correct, harden the folds .

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Step 6 - Fold the paper in half again along the guideline fold, which should be on the backside of the other folds .

Step 7 - Cut off all of the angled edges so you have a triangle with even sides . This is the outside edge of the snowflake. The angle cut will determine the shape .

Step 8 - Leaving some connections on the folded edge of the triangle, cut away various parts of the triangle to create the patterns of the paper snowflake.

Step 9 - Carefully unfold the snowflake and press the folds flat.

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Folding method 2:Step I - Starting with a square piece of paperfold in half matching the corners

step 2 - Fold the paper in half again and press folded edge, then re-open .

Step 3 - With the folded edge toward you, fold the bottom edge from the center fold line up to the top edge so the corner is about in the middle of the other section .Step 4 - Repeat this fold with the other side .

Step 5 - From the point fold in half matching the edges to form a cone .Step 6 - Make a cut that will remove all the different angled open edges . This is very important, as this will determine the outside edge of the snowflake.

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Note: Two folding methods are offered because some students find one easier than the other. It is im-portant that all folded edges are adjusted so they line up with each other .The point is the middle of the snowflake, and it must be as sharp a point as possible. If the point is cut off there will be a hole in the middle of the snowflake.

Step 7 - Make the cuts in the sides that will determine the design of the snow-flake.

Step 8 - Unfold snowflake and press flat.

The shape of the cuts and their depth determine the finished look of the snowflake. Young students will prob-ably make simple shapes, but older students can make more complex shapes . For example, cuts for A, produced the snowflake A, above right. If the snowflake is cut just a little deeper, B, it becomes a lacier snowflake, see B below left. Even deeper cuts, C, produce the laciest snowflake, C, below right .

A

A

B C

CB

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ASSESSMENT Formtive: Students should understand that in order to replicate the crystal quality of a snow-flake they must make the edges match up. If the snowflakes are not turning out like the repeated pattern of a six-sided crystal, discuss why they should be called paper designs, but not paper snowflakesSummative: Young students should be given a list of criteria for being Finished . For example, 1 snowflake with 6 even sides. At least three design cuts . Paper is neat, with no tears or smudges .Older students can be given additional criteria and asked to self-assess the quality of their fin-ished snowflake. Add whatever criteria meet your teaching strategy .Ask the students how the exact folding of the paper is similar to the exact conditionsneeded to produce a snowflake.

EXTENSIONS Older students can add detail to their snowflakes using a ruler and a pen . Show the class the im-ages of the snowflakes photographed by Wilson Bentley: ask the students to look at the details of the snowflakes. (Many of them have ridges and lines in them .) Students can make their snow-flakes look similar to one of the real snowflakes and can then add appropriate details, see example at right .For a lesson on snowflakes and fractals, go tohttp://www.schools.manatee.k12.fl.us/boehm/snowflakecurve/snowflake_fractal_lesson_plan.html

Kenneth Libbrechts website has some activities for kids including printable pdfs of actual snow-flake photographs and a page of images of the different types of snowflakes.http://www .its .caltech .edu/~atomic/snowcrys-tals/kids/kids .htmBOOKSSnowflake BentleyJacqueline Briggs Martin and Mary Azarian $7 .99 paperback at Amazon .comSnowflakes in Photographs, W . A . Bentley (850 photographs of snowflakes) $8.76 paperback

The Little Book of Snowflakes by Kenneth George LibbrechtSnow Crystals, W . A . Bentley

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3-Dimensional Forms from Platonic Solids Art and Solid Geometry

Elementary Visual Art & Science LessonBy Joseph Germaine

OBJECTIVE Students will demonstrate an understanding of regular three-dimensional polyhedra by building and decorating several polyhedra and decorating them in a personally creative way .STATE CORE LINKS Rainbow Chart: Sixth Grade, Elements of Art, Geometric Forms, 5 basic geometric forms hav-ing height, width, and depth (sphere, cone, cube, cylinder, & pyramid) and 3-D: Objects that have height, width and depth . MATERIALS Polyhedra templates (end of lesson), cardstock, scissors, pencil and glue .PROCESS There are only five geometric solids that can be made using a regular polygon and having the same number of these polygons meet at each corner. The five Platonic solids (or regular poly-hedra) are the tetrahedron, cube, octahedron, dodecahedron, and icosahedron .Before you teach this lesson it is important to make several or all of these forms . There are some delicate strategies especially in gluing that can only be appreciated by the experience of do-ing . Use the templates included in this lesson to enlarge and copy onto cardstock . Use a regular copy machine to print the templates to the size you want. Show students the finished forms so they can choose which one they want to con-struct . When the students receive the templates have them design a pattern or a decoration to put on the outside of the form . Marker pens or

colored ballpoint pens make great decorative medium . After the cardstock is decorated have students carefully cut out the template . Accuracy is important so the various faces will match up for the gluing . Fold the cutout in the appropriate places and have students carefully glue it togeth-er . Use rubber bands or masking tape to keep the tabs in place while the glue dries . I usually use white glue but other faster drying glue may work better . Be careful with younger students . Gluing is an art form in itself . Display this work by hang-ing or on display shelves .

SOURCES Drawing Stars & Building Polyhedra by Christo-pher M . Freeman . If these ideas interest you I recommend an excel-lent book by Paul A . Calter, Squaring the Circle: Geometry in Art and Architecture. This book in-cludes all the topics necessary for a solid founda-tion in geometry and explores the timeless influ-

The Beautiful Octahedron, by Siale, 5th grade

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ence of geometry on art and architecture . The book includes an interesting historical perspec-tive and is appropriate for both basic mathemat-ics and cross discipline courses in math and art . It also requires no previous study in mathematics .EXTENSIONS/VARIATIONS: A fun extension to this project is to have students render their polyhedral form with pencil or pen . It is a visual discussion of the idea . These pieces can also be used as Holiday Orna-ments by decorating them with thematic designs and by gluing thematic additives such as sequins and glitter . These forms can be made as slab constructions of inch ceramic clay . And, of course there are many other three-dimen-sional forms that can be made in similar ways . Look up resources of other three-dimensional forms . A few are listed below . http://www .korthalsaltes .com/ paper models of a wide variety of polyhedrahttp://britton .disted .camosun .bc .ca/jbpolyhedra .htm a wide variety of activities related to polyhedra

A finished Tetrahedron by Bowdee, 5th grade

Decorating the template. Matia, 3rd grade

Some finished solids

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http://www .origami-resource-center .com/modu-lar .html Origami Polyhedra (some simple ones)http://nuwen .net/poly .html Origami Polyhedra (for advanced, especially interested students)http://hektor .umcs .lublin .pl/~mikosmul/ori-gami/balls .html Origami Balls

Great dodecicosidodecahedronCreative Commons License

http://www.flickr.com/photos/fdecomite/3829792244/in/photostream/

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PLATONIC SOLIDS: What is a platonic solid? A platonic solid is a regular Polyhedron: any one of five solids whose faces are congruent regular polygons and whose polyhedral angles are all congruent. The name of each fig-ure is derived from it number of faces: respectively 4, 6, 8, 12, & 20 . The aesthetic beauty and symme-try of the Platonic solids have made them a favorite subject of geometers for thousands of years . They are named for the ancient Greek philosopher Plato, who theorized that the classical elements were constructed from the regular solids .

A TETRAHEDRON (plural: tetrahedral) is a polyhedron composed of four triangular faces, three of which meet at each vertex . A regular tetrahedron is one in which the four triangles are regular, or equilateral .A CUBE or HEXEHEDRON (plural: hexahedra) is a polyhedron with six faces . A regular hexahedron, with all faces square, is a cube .

An OCTAHEDRON (plural: octahedral) is a polyhedron with eight faces . A regular octahedron is a Platonic solid composed of eight equilateral triangles, four of which meet at each vertex .A DODECAHEDRON is any Polyhedron with twelve flat faces, but usually a regular dodecahedron is meant: a Platonic solid . It is composed of 12 regular pentagonal faces, with three meeting at each vertex . It has 20 vertices and 30 edges . An ICOSAHEDRON is a regular polyhedron with 20 identical equilateral triangular faces, 30 edges and 12 vertices. It is one of the five Platonic solids.

Patterns and directions for each of the 5 platonic solids are included on the next pages .

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Schema Template for a Tetrahedron. Using a photocopier, you can make this any size you need . For the ornament project, I suggest about 2-1/2 to 3 inches per side of small triangle shapes .

1 . Crease on fold lines, folding each section up .2 . Apply glue to tab A and attach to the opposing plane . (The opposing plane is always the plane directly to the left or right of the plane with a tab . The opposing plane will not have a tab .)3 . Repeat Step 1 with tabs B and C .4. If desired, insert string just as you glue the final tab to its opposing plane.

opposing plane

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Schematic Template for OCTAHEDRON and Assembling Instructions:1 . Crease on fold lines, folding each section up .2 . Apply glue to tab A and attach the opposing plane . 3 . Repeat Step 1 with tabs B and C .4 . Apply glue to tabs D and E and press down the closing plane . Insert hanging string .

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Schematic Template for CUBE and Assembly Instructions:

1 . Apply glue to tabs A and B and attach the opposing plane .2 . Repeat Step 1 with tabs C and D .3 . Apply glue to tabs E, F and G and bring down the closing plane .

36

Schematic Template for ICOSAHEDRON and Assembly Instructions:

A

1 . Crease all folds and tabs up .2 . Start at A and glue each tab to its opposing plane .3 . Continue around the shape, clockwise, until finished. Note: Left handers may be more comfortable starting at * and going counter clockwise

37

Schematic Template for DODECAHEDRONand Assembly Instructions:

1 . Crease all folds and tabs up .2 . Glue each A tab to the opposing plane next to it .3 . Glue each B tab to its opposing plane .4 . Glue the C tabs to their opposing planes, starting on one side of the piece that joins the two halves and working around toward E . Then start at the other side of the join and work towards E .5 . Glue the closing plane, E, to the D tabs .

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Elementary Visual Arts & Science Lessonby Joseph GermaineOBJECTIVE Students will demonstrate an understanding of light refraction (the phenomena if not the term and physics of it) and rainbow prism colors by creating an original watercolor landscape of a rainbow with the colors in the proper order .UTAH STATE CORE USOE Rainbow Chart: Fourth Grade, Elements of Art, Color Wheel Theory . Fifth Grade, Elements of Art, Color Wheel Theory, mixing colors .4th Grade Science: Standard 2: Students will understand that the elements of weather can be observed, measured, and recorded to make pre-dictions and determine simple weather patterns .MATERIALS Pen or pencil for drawing, watercolors for painting, good heavy gage paper .PROCESS Two physical phenomena are at work within a rainbow: refraction and reflection. Refraction occurs each time light passes across a boundary from one substance to another, such as from air into water . As light crosses that boundary, the rays bend at different angles depending on the wavelength (color) of light . This is the familiar prism effect wherein white sunlight is broken into a spectrum of different colors from red to blue-violet .The same thing happens in a rainbow: white sun-light enters a raindrop and is broken into differ-ent colors heading in slightly different directions . The light is then reflected (and magnified) off the back of the raindrop and passes back into the air

again, in the process being further refracted . The reason that rainbows are somewhat rare is that you will only see them when there is rain in front of you and somewhat in the distance, and the sun is behind you and fairly low on the horizon .Obviously, this scientific explanation of refraction and reflection will be difficult to understand ini-tially by primary grade elementary students . We

Rainbow at Jasper National Park, Alberta, Canada, by Wing-Chi PoonCreative Commons Attribution-Share Alike 2.5 Generic license.

commons.wikimedia.org/wiki/File:WhereRainbowRises.jpg

Art & Science ConnectedRainbows, Prisms and Colors

40

want to explain this in accurate scientific terms, so the teacher must have that depth of back-ground . Let children know that white sunlight divides into all the colors of the color spectrum (color wheel) when it passes through a raindrop at a certain angle and then reflects off the back of the raindrops and is magnified to make the beauty we know as a rainbow . Science has a very difficult time discussing beauty because beauty is too subjective . The discussion of beauty is the purpose of art .Give a short discussion of the cause of the rain-bow colors . It is easy to demonstrate how a rainbow is made . Try to make it happen in your classroom . There are several processes that work well . The Water Glass Method: 1 . Fill a glass with water . 2 . Place the glass on a table in front of a sunny window . 3 . Place a sheet of paper on the floor. White paper works best. 4. Wet the window with hot water by misting it with a spray bottle . 5 . Adjust the glass and the paper until you see a rainbow . The Mirror Method: 1 . Place a mirror inside a full glass of water . 2 . Make sure the room is dark, and has white walls . 3. Shine a flashlight into the water, moving it around until a rainbow can be viewed .

The Flashlight Method: 1 . Fold a white piece of paper in half, and cut a little triangle with a pair of scissors . (Experiment to get the right sized hole) 2 . Fill a glass con-tainer with water. A fishbowl works well. 3. Tape a flashlight on the hole in the piece of paper. 4. Hold the paper up with the flashlight bar. 5. Turn on the flashlight directly at the glass of water. 6. Shazaam! A rainbow appears .PRISMS: A great demonstration in rainbow build-ing can be done easily with a prism . In optics, a prism is a transparent optical element with flat, polished surfaces that refract light . The exact angles between the surfaces depend on the ap-plication . The traditional geometric shape is that of a triangular prism with a triangular base and rectangular sides, and in colloquial use, prism usually refers to this type . Some types of optical prisms are not, in fact, in the shape of geometric prisms . Prisms are typically made out of glass, but can be made from any material that is trans-parent to the wavelengths for which they are designed . A prism can be used to break light up into its constituent spectral colors (the colors of the rainbow). Prisms can also be used to reflect light, or to split light into components with differ-ent polarizations . (See image below)PRISM REFRACTION DIAGRAM:www.school-for-champions.com/science/light_dispersion.htm

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Prisms can be purchased inexpensively from any educational or art supply catalogue . They can be used easily with a flashlight to create a beautiful rainbow projection . Students will be interested . Many people have prisms in their chandeliers and around lampshades . Under the right light these decorative prisms will also create rainbows . The creation of a rainbow in your class is a real attention getter and sets the mood for the cre-ative thinking necessary to make an interesting drawing and watercolor . Identify the colors in the right order: Red, Orange, Yellow, Green, Blue, Indigo, and Violet . The memory device for this is ROY G . BIV . There are songs and stories about Roy, so use them . Show students that the color order is the same as the color wheel . Remember that Indigo is made by mixing blue and violet .To make the rainbow picture be something more than just some colored arches, the whole compo-sition must be interesting and fit together. Have

students look at some calendar art photographs of rainbows . There are a lot on the Internet . Go to Metacrawler . Hit the images mode and type in Rainbow Photos . (A few are included in the packet .) Have students draw before they paint . Students should shade in shadows and textures in the drawing . Remember that drawing a circle with a black pen does not make a black circle; it makes a white (color of the paper) circle with a black line around it . Lightly draw in the rainbow arches as gently flowing arches. We want to try to get past the symbolic icon of a rainbow .When it comes time to watercolor, here are a few simple hints to improve the effect of the water-color technique . 1 . Use the tip of the brush and use gentle pressure . Do not scrub with the brush . 2 . Do not over use the water . Do not go back to the water each time you paint . 3 . If you want to mix colors and you probably will, to get a good indigo (blue violet) do not mix on the paper ,mix the colors in the mixing tray on the back of the watercolor set .ASSESSMENTWhen students are finished, have them give their artwork meaning by giving it a title . Exhibit this artwork with title and name cards . Have students self-evaluate according to criteria you set with them, based on what specific art skills you have been working on in your class .SOURCES Over the Rainbow (Book & Audio CD), by Judy Collins and Eric Puybaret . This is an excellent story with illustration and music and songs by singer/songwriter Judy Collins .All the Color of the Rainbow (Rookie Read-About Science), by Allan Fowler . This is accessible de-scription of the science of rainbows. The Magic School Bus Makes A Rainbow: A Book About Color, by Joanna Cole . Video: Reading Rainbow: Once There Was a Tree: Rainbow Science, VHS tape.EXTENTIONS/VARIATIONS By combining the rainbow project with a color wheel project, you can help students see that all that color theory stuff has a basis in nature and natural reality . While very young students seem Little Island, Big Rainbow, by Annie, 5th gradeMy teacher just got back from Hawaii so I made this for him.

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empowered by making a color wheel, older stu-dents approach it more like just another boring worksheet . When combined with a landscape watercolor project, I have noticed an increased enthusiasm . A prism is a polyhedron, which means the cross section will be a polygon (a straight-edged figure with no curves) . Prisms come in many shapes, triangular, trapezoidal, square, cube, and pen-tagonal . After seeing what a prism will do to light students will be more interested in drawing these form three-dimensionally . It is also easy to see through the prism to see what the lines and sur-faces on the other side are doing so students get a more accurate vision of three-dimensional forms and therefore, can render the perspective draw-ing more astutely .

Big Island Promise, August, 2010Photographs of rainbows are easy to find but it helps if you have some of your own to share. Students are ap-preciative of teachers who practice what they teach.

Double Your Pleasure, Utah Valley, 2007

Rainbow in the Sky by Emily, 3rd grade

Once I saw a rainbow in the sky. It didnt touch the ground.

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The Pretty Rainbow, by Missy, kindergartenMy rainbow has two stripes of purple, I mean vio-

let.

End Of The Rainbow Road, by Claire, 5th gradeThere is always a rainbow at the end of the road.

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Elementary Visual Arts & Math LessonBy Joseph GermaineOBJECTIVE Students will demonstrate an understanding of Geometry by using their knowledge of diameter, radius, circumference, and the use of compass and straight edge to create their own geometri-cally accurate design to be used as the cover for a compact disk .STATE CORE LINKSUSOE Rainbow Chart, 3rd Grade, Elements of Art, Geometric Shapes, Circles, squares, rect-angles and triangles; mathematical in propor-tion and Build Skills/Practice, practice making geometric forms and geometric shapes with or without a ruler .USOE Math Learning Outcomes, Grades 3-6 5 . Connect mathematical ideas within mathematics, to other disciplines, and to everyday experiences . 6 . Represent mathematical ideas in a variety of ways .4th Grade, Standard 3: Students will understand attributes and properties of plane geometric objects and spatial relationships .MATERIALS Drawing compass, straight edge (ruler) and per-haps a right triangle drafting tool .Black pens, colored pens, and pencils or water-color . Use good paper .PROCESS Begin this project with a couple of simple geomet-ric designs on the board using a large compass and dry erase pens on a white board . This should get the interest of even the most lackadaisical

elementary student . If you have the Compass Drawings video, show it after you have got your students interest . A folder of several Compass Designs at each work area becomes a great research part of this project . If you dont have examples, you can find them on line or make them . Keep them simple; the students will make them more complicated without much encourage-ment . Use photocopied student work as research examples .When students are ready to start designing, show them some simple techniques for using the draw-ing compass and straight edge, like using a pad under the paper to secure the point of the com-pass and moving the paper around the compass instead of always moving the compass . Show students that by holding a straight edge with two fingers instead of one it is less apt to teeter-totter. Show students several compass flower designs to get them started and then let them experi-ment . After the students have decided on their

The Music Goes Round and Roundby Aubrey, 6th grade

Art & Science ConnectedThe Sights and Sounds of Geometry

46

design, give them a 4-1/2 square piece of paper (or whatever will fit in a CD jewel case) to create their finished design. Remember that whenever young students start to use color, they should be reminded of possible color relationships such as complementary, analogous, and monochromatic color schemes . Textural relationships are also an important part of this project .

If you want to make the artwork larger and not worry about the CD design, its O .K . Make sure you matt or frame the work before exhibition . If you would like to push the project further, then you should fold a piece of paper and cut it to the appropriate size to fit into a CD jewel case. The compass design can be glued onto the cover . If you have access to iTunes, you can print a play list and cover at the correct size . The creation of a graphic design housed in a plastic CD jewel case is enough of a project . See extensions for sugges-tions on the music mix .

Here are some simple examples of compass designs

This is Matia, 3rd grade, working on her compass design

Matia, 3rd grade, almost finished

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See more examples on the following pages .ASSESSMENT As a proponent of Self-Assessment, I recom-mend all students write a criteria of success statement as to why they think their design works or what they like about it .SOURCES Video and Book: Compass Drawings: Construc-tion designs using a compass and a ruler (grades 4-6), by Linda Nelson Harst . Navigating Compass Designs, by Barbara Ann Caron .

This is one the teacher made as an example of art using a compass and straight edge. Always let your

students see you making art, and if you have a chance, let them see you make mistakes and model

how to fix your mistakes.This is Treg, kindergarten, and his first compass design. Even very young students with minimal

dexterity have a wonderfully creative experience. Remember that success breeds success.

The Spider Web. This is Tregs, kindergarten, finished design

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EXTENSIONS After creating a compact disc cover, it seems appropriate for students to create their own CD mix of music that relates to Geometry or Math in general or that relates to the design they used for the cover . Encourage children to bring their own music from home . Use the iTunes program found on most computers and all the laptops in Alpine School District . You can purchase tunes to use and share . You can use your own music collec-tion . You can download free music from a num-ber of sites . All of this is legal if you dont mass-produce or try to sell the mixes . Most computers these days have the capacity to burn discs . In my case, I have over 7,000 tunes in my iTunes files, so the kids have a lot to choose from . Obviously, some discretion must be used, and I never have the students use my laptop unattended .*See the Mandala project in the Around the World Evening for Educators packet for addi-tional ideas .Here are some musical tunes about numbers and geometric designs:

SQUARE: Square Dance Song by Disney Play-house; Big Square Walking by Sarah Lee Guth-rie; Square-Cuadrado by Audio Teachers; Hope-lessly Square by Neal and Leandra; Square by Boom bip & Doseone (hip hop); Youre So Square by Elvis Presley .CIRCLE: Circle by Harry Chapin; Circle by Barbra Streisand; Circle of Life from The Lion King, Full Circle Miley Cyrus, Circle by Solace, Circle, by Miles Davis Quintet, Circle of Friends by Point of Grace; The Circle Game by Tom Rush or Joni Mitchell; Happiness Runs In a Circular Motion by Donovan; Circle, (running round my head) by Micatone .TRIANGLE: Triangle by Rock the Standards; Triangle by Patsy Cline; The Eternal Triangle by Dizzy Gillespie and Sonny Stitt; Triangle Walks by Fever Ray; Magnolia Triangle by Stan-ton Moore; Triangle by Linus of Hollywood .Square Circle Triangle or Triangle Circle Square by The Limousines .Curly Circles by Bowdee, 5th grader. The S shaped designs were made with the compass and then hand blended to make them look

like wiggly roads.

Asymmetrical Circles and Symmetrical Triangles, by Lane, 5th grade. Using a compass to make asym-metrical arcs is something I would not have thought, but my friend with the 6th grade brain thought it was a no brainer.

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DIAMETER: In Diameter by Medusa Cyclone; Diameter (instrumental) by Circus of Pain; Di-ameter of a Point by It Concubia Nocte .RADIUS: Radius by Ed Harrison; Radius by Tim Halbert; Radius by The Humble Bros .CIRCUMFERENCE: Circumference (it just makes sense) by Rhythm, Rhyme, Results; The Color of My Circumference 1 by Mike Ladd & Vijay Iyer .COMPASS: Compass by Crosby, Stills and Nash; Compass by Marek Hemmann .GEOMETRY: Geometry by Karl Roemer; Poly-gon by Mindy Bauer; Geometry by The Hipwad-ers; Do Re Mi Geometry by Obie Leff . If you are nervous about the appropriateness of some musical selections, here are some instru-mental pieces: Uncommon Square Dance by Dave Brubeck, Circle by Guitar Music Society, Triangle by Sounds From the Ground, Triangle Tango by Cirque du Soleil . You may want to limit your choices to music spe-cifically recorded and produced for children such as the album Math by Rock The Standards and Math Albums 1 & 2 by Rhythm, Rhyme, Results; Class Dis-missed by Mr . Duey; Science by Teacher and the Rockbots; The Science Juke Box by Ellen McHenry; Solar System Slide by Dr . Planet; Human Body 101 by Hip Science; Here Comes Science by They Might Be Giants; Math Songs That I Must Sing by Karl Roemer; Catchy Math Jingles by Mindy Bauer; Do Re Mi Geom-etry by Obie Leff;Personally, I find much of the music made specifi-cally for children to be shallow and somewhat insipid, and I hesitate in suggesting that my students should limit their aesthetic horizons to a musical idiom and style that is designed primarily to sell to adults who persistently underestimate the depth and sophistication of childrens taste in music and art . I must admit that my own grand daughter really likes Miles Davis, Eric Satie, and Buddy, but she also loves Miley Cyrus and The Wiggles . She is seven years old .It is O .K . to have your own personal tastes and prejudices in music, I suppose, but please be careful about forcing your own aesthetic on your

young students . I promise that it wont work; otherwise we would all listen exclusively to opera and classical music, which were of course the Pop musical idioms of former days . Every gen-eration must invent the sound and tone of their own Soundtrack . Every individual gets to create his or her own lifes musical accompanimentthe soundtrack to the Dance of life . The purpose of life is not to get an education, so you can get a job, so you can go into debt, so you can afford a retire-ment home of your own choosing . We do all of that for the real purpose of life, which is to be able to afford to go to the Symphony once a month and the Reparatory Dance Theatre once a year, visit a museum whenever a new exhibition is available (or just to hear that echoic murmur of aestheti-cally satisfied patrons, to buy a lot of large-format picture books of the great artworks of the world and to visit some of the beautiful and interest-ing places on this blue planet andOh yes! To be able to afford really good art supplies . That is the purpose of life . Man is that he might have JOY! and make art!This music also becomes great sources of circle dance activities . You can dance to the shapes . My young students love the brain dance .

The Circumferences, by Parker, 5th grade

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SECONDARY VERSIONSHave students make more complicated versions of the compass drawings . These drawings can include shading or texture, or color, or all three .Or, have the students make computer drawings . These can be straight compass-type drawings that are colored or the drawings be manipulated to create less standard artworks .

If you must avoid the actual music for the jewel case project, you can make a faux disc by scribing concentric circles on cardstock with a drawing compass and inserting it into a jewel case .

The Sound of Flowers, by Joe, 4th grade

This example was made using the ellipse tool in Photoshop with additional lines drawn over the circular design . Make a square canvas and under View, go to Show and Grid . The grid is ex-tremely helpful in aligning the shapes . Then just use the paint bucket to add the color .

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3rd 6th grade Visual Art & Science Lessonby Vicki GehringOBJECTIVEStudents will become aware that there are consis-tent proportions in nature that are the foundation of what our brain preserves as pleasing, and these proportions are used in the arts . These propor-tions are connected to what has become known as the Golden Mean, the Golden Ratio, and/or Sacred Geometry . Note: Students should understand that although the Golden Mean can be formulated mathemati-cally there are so many variables in nature that nature rarely reflects the exact mathematical equation . The projects in this lesson referenced to the Golden Mean, will be dealing with whole num-bers as it is believed were used by the Egyptians and the Greeks, and not phi fractions .MATERIALS2 or 3 sheets of drawing paper, pencils, rulers, a picture of a Greek columned building or temple (one on the CD or at http://www .schnapp .org/bosi/images/LowQ/20041011_13 .jpg)sample drawings of a tree whose trunk is too large for the leaf areaa copy of Trevor Southeys New Bloom (on CD)Core Skills: Ruler skill, drawing correct scale and proportionsLesson information on the Golden Mean (also called the Golden Section and the Golden Ratio):Sacred Geometry, Stephen Skinner, Sterling Pub-lishing Co . Inc . New YorkHarmony is the repetition of the same propor-tionsThe Golden Section is a ratio between two

dimensions of a plane figure or the two divisions of a line such that the smaller is to the larger as the larger is to the sum of the two, roughly a ratio of 3 to 5 . (see below)

Throughout history, many people have been fas-cinated by the ratio of the Golden Mean, so much so, that its sometimes called the Divine Propor-tion . Historians and scientists have found exam-ples in architecture, art, and in the natural world . Some of these applications were deliberate, as in use by specific artists and architects, but many of the instances of these ratios depend on where the person measuring chooses to measure the specific item (see the example of the Mona Lisa on the next page). We can also find perfect examples of the Golden Mean as expressed in Fibonacci spirals( below), say in nautilus shells, sunflowers,


The Science of Proportion

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branching of plants and pinecones because this is an efficient way of growing. For example, leaves or branches that follow the Fibonacci sequence, gain the most sun exposure because the leaves do not block those just below . The ratio of the Gold-en Mean also appears in geometric figures such as the pentagon, pentagram, and dodecahedron .

Many people believe the approximate ratio of the Golden Mean is one that appears to be pleasing to the human eye, and some artists and architects have instinctively used a similar ratio in their work . Ever since the Greeks, certain artists have believed that they should use idealistic repre-sentation in their artwork, and have chosen to

use specific proportions they believed to be most beautiful .http://en .wikipedia .org/wiki/Goldenratiohttp://www .maa .org/devlin/devlin_06_04 .htmlhttp://mathworld .wolfram .com/GoldenRatio .htmlDepending upon how you measure, the Golden Ratio is apparent in the human body, and you can use this as an introduction to the idea .Lesson:Have a student volunteer to be measured . Mea-sure from the head to the waist and record the measurement . Measure from the waist to the bot-tom of the feet and record the measurement . Mea-sure the head from the top to the chin . The ideal human proportions are that a person is 8 heads or sections tall . Three of those sections represent the length from the head to the waist and 5 of those sections are taken up from the waist to the feet . With the understanding that the child is not fully-grown see how closely the measurements reflect a 3 to 5 ratio. Have the class figure out if the student matches the perfect ratio when fully grown how tall will he/she be .Discuss the information about the Golden Mean . Draw a square on the board 12 inches x 12 inches . Label the length of one side of the square B . Ask the students, If the ratio of a golden rectangle is B is to A as A is to of B, how long should the section be to make this a Golden Mean rectangle?Show Trevor Southeys etching New Bloom, see on upper right) . Measure the length of the print (image area). Measure the section with the figure and the section of the rose . Discuss how the divi-sion of this is like the golden rectangle . Then measure the height of the image and the divisions in the section on the right with the rose . Ask the students if these divisions reflect the Golden Mean .Show the students the drawing of the tree whose proportions are incorrect and have them discuss why the tree doesnt look real . If possible, look at

La Gioconda, or Leonardos Mona Lisa, mapped with golden rectangles, by Juan ngel Paniagua Snchez Enlace

Creative Commons Attribution-Share Alike 2.0 Generichttp://commons.wikimedia.org/wiki/File:Joconde.gif

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a real tree and talk about the proportions . (Some images are included on the CD) Which part of the tree is larger, the trunk or the branches? Which part of the tree is wider? Look at a small tree and a large tree and discuss the size of the trunks and how the thickness of the trunk is in proportion to the size of the tree . (Although trees differ widely in their natural shapes and proportions, no natu-ral trees look like the tree symbol most elemen-tary students draw . This exercise is an attempt to help students realize that trees have trunks that are considerably smaller than the width of their leaf mass, and one pleasing proportion for a broad, leafy tree is to apply the golden ratio .)

Project 1: On one piece of drawing paper have the students draw a tree . (This part may be skipped if the students are in the habit of drawing trees with correct proportions . However, if they draw trees that are more like the one used to show incorrect proportions it will help them to do some self-analysis .)On another sheet of drawing paper have the stu-dents draw a rectangle 9 inches high and, 6 inches wide . Then draw a horizontal line three inches from the bottom . They will then draw a tree inside this rectangle using the bottom section for the trunk and the top section for the branches and leaves .Discuss how these proportions reflect the natural tree growth . Then compare the two tree draw-ings and discuss which they find visually pleasing.Project 2:On another sheet of drawing paper have the students draw two side-by-side rectangles each 5 inches high and three inches wide . In one rect-angle draw a horizontal line 2 inches from the top . In the other draw a horizontal line across the middle . Then show the picture of the Greek building and have the students draw a simple rep-resentation of that style building in each rectangle using the top section for the roof area and the bottom section for the columns . John Hafen, Tree on Main Street SMA

What reasons do you have for believing this artist deliberately used the Golden Mean in this artwork? What might you do to find out?

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Discuss which drawing more closely reflects the proportions used by the Greeks . Which propor-tions look more pleasing? Which proportions are connected to the Golden Mean? Have the students figure out the Golden Mean divisions of the 6-inch square . Project 3: (optional)Have the students draw a Golden Mean rectangle, divide it into Golden Mean sections and do a drawing of their own choice using those divisions . (Refer them back to the New Bloom poster .ASSESSMENT You may want to just give students a check or points for completing the drawings correctly, or you can give a grade of 1-3 for how well they followed directions, demonstrating their under-standing of the Golden Mean .If students completed Project 3, assess the stu-dent drawings for correct application of the Golden Mean . You may choose to give them other criteria that relate to art skills and techniques you have been working on in class . Be sure to provide the criteria before the students begin their draw-ings . Have students self-assess how well they met the criteria .

Greek Templehttp://hillbuzz.files.wordpress.com/2008/08/giant-temple.jpg

EXTENSION for Secondary Show the class examples of the Golden Ratio and Fibonacci numbers in nature, such as the slide show from the website above . Explain that artists have both deliberately and instinctively used this ratio as the basis for compositions . Give the stu-dents copies of images of artworks that they can draw on . Have the students see if the artworks exhibit the Golden Ratio, Fibonacci Numbers, or the Golden Spiral . Have students examine some of their own favorite past artworks . Do any of them come close to using the Golden Ratio? You may choose to explain that although the Golden Mean has a big following, many of its applications depend on the person looking for that specific ratio . (See http://www .maa .org/devlin/dev-lin_06_04 .html)Have students sketch an example of a naturally occurring example of the Golden Ratio . Next, have students use the sketch in a larger artwork . Have them make a sketch of the projected art-work and then examine the sketch for its pro-portions . Students should check to see whether there are places in the planned artwork that could benefit from application of the Golden Ratio or just from a different one than they used . For example, where is the point of interest in the

Sunflower head displaying florets in spirals of 34 and 55 around the outsideHelianthus flower, Bannerghatta Bangalore, by L. Shyamal, 2006Creative Commons Attribution-Share Alike 2.0 Generic

http://en.wikipedia.org/wiki/File:Helianthus_whorl.jpg

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SOURCES

Golden Ratio, Golden Rectanglehttp://en .wikipedia .org/wiki/Golden_ratioLots of math you wont need, but wonderful im-ages of shells, showing the spiral sequenceshttp://www .spirasolaris .ca/sbb4d2c .htmlFibonacci in Nature has examples of the Fibo-nacci sequence in plants, animals, and humans .http://jwilson .coe .uga .edu/emat6680/parveen/fib_nature.htmFibonacci Numbers in Nature has examples of the Fibonacci sequence in plantshttp://britton.disted.camosun.bc.ca/fibslide/jb-fibslide.htm

artwork? What are the proportions of the major elements to each other and to the whole? They should also consider the proportions of colors they are planning on using . When the students have changed the sketches several times to im-prove the proportions of the drawings, they may complete the artwork .Have the students self-assess using the following or a similar self-rating sheet .

Proportion and the Golden MeanName ______________________________________________________ Period _________________________ I completed a sketch of an example of the Golden Ratio .My sketch is Great Okay Not as good as it could be_______ I completed a planning sketch of my artwork ._______ I changed my sketch to improve the proportions at least twice ._______ I completed the artwork .My artwork is Great Okay Not as good as it could beThe best part of my artwork isOne thing I would do differently another time is_______ I turned in a copy of my initial sketch, my planning sketches, my finished artwork, and this self-evaluation .

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4th Grade Visual Art & Science Lessonby Louise NickelsonOBJECTIVESBy studying sagebrush habitat, students will come to understand that a habitat is an ecological or environmental area with a group of organisms that depend on each other, and the group, as a whole, to provide life . Students will create art-works that demonstrate their understanding of the interdependence of life in a habitat . Student artworks will demonstrate an understanding of foreground, middle ground and background .UTAH STATE CORE LINKSScience Core 4th GradeScience BenchmarkUtah has diverse plant and animal life that is adapted to and interacts in areas that can bedescribed as wetlands, forests, and deserts . Standard 5: Students will understand the physical characteristics of Utahs wetlands,forests, and deserts and identify common organ-isms for each environment . e . Create models of wetlands, forests, and deserts . Objective 2: Describe the common plants and animals found in Utah environments and how these organisms have adapted to the environment in which they live . a . Identify common plants and animals that inhabit Utahs forests, wetlands, and deserts . c . Describe some of the interactions between animals and plants of a given environmentUtah Visual Art, Rainbow Chart: Im-plied Texture, Art Criticism, Aesthetic

(other elements and principles as chosen by the teacher)Identify, Experience: make drawings of multiple objects, with overlapping and accurate size rela-tionshipsMATERIALSImage of Ode to Sagebrush: A Hidden Picture, by Arlene BraithwaitePiece or picture of sagebrushCopy paper and pencilsLarge sheets of drawing paperColored pencils or other colored media (colored pencils are good because they provide a lot of control but can be mixed easily)Books, Internet, other research materialsVOCABULARY Habitat, sagebrush, steppe, pygmy rabbit, vole, antelope, rattlesnake, obligates . Foreground, middle ground, background .


Who Needs Sagebrush?Utah Environments

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Sage Grouse, photo by Gary KramerSource: U.S. Fish & Wildlife Service Digital Library SystemAs a work of the U.S. Federal Government, image is in the

public domain

http://en.wikipedia.org/wiki/File:SageGrouse21.jpg

Indian Paintbrushhttp://www.nps.gov/grte/galleries/gallery_plants.htm

As a work of the U.S. Federal Government, image is in the public domain

http://commons.wikimedia.org/wiki/File:Indian_Paintbrush_in_Grand_Teton_NP-NPS.jpg

Show the piece or picture of sagebrush and ask the students how many of them know what kind of plant it is . Ask the students what they think of sagebrush . Then pass out the Who Needs Sage-brush worksheet .When the students have filled in the worksheet, go over it with them, asking the students what they know . (See teachers copy of the worksheet) Then show the class the image of Ode to Sage-brush, by Arlene Braithwaite . See if the students can identify any of the plants, animals, or insects in the artwork .

Sage GrouseBrewers SparrowSage ThrasherSage SparrowPygmy RabbitSagebrush LizardSagebrush VolePronghorn AntelopeGreat Basin rattlesnake

Indian PaintbrushYarrow (the white flower)Beckers White Butterflies (also called the Great Basin White or Sagebrush White)Lupine (the blue flower)Indian Rice GrassBeesGarden SpiderBeetleGrasshopperLadybugFlyScorpionFerruginous HawkRead the words that go around the outside of the artwork to the students:Our eyes burn from clouds of dust blowing across the sand and cheatgrass landscape, once a thriving sagebrush steppe. When the sage canopy disap-peared, the future of the myriad insects, reptiles, birds, mammals, and humans living on this land was sealed.

In webs of life it is easy to overlook the unglamour-ous, like the sagebrush. The importance of these unflashy anchors for entire communities only becomes apparent when they are gone.

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Help the students understand any parts they find confusing . Ask the students why they think the artist may have felt so strongly about sagebrush . Ask the students to make a list of things that might be harming the sagebrus

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