TAEG (PRELIM) beliefs, and to share his own and his

community’s aspirations, celebrations,

The Curriculum Framework of Arts and events.
Education  Arts record, reflects, and rearranges
Conceptual framework man’s life and existence.
AESTHETIC EDUCATION
 Both the Music and the Arts curricula
focus on the learner as recipient of the - Bennet Reimer
knowledge, skills, and values
• First developed to provide strong
necessary for artistic expression and
philosophical foundation for music
cultural literacy.
education.
 The design of the curricula is student-
centered, based on spiral progression • With guidance from aesthetics, music
of processes, concepts and skills and educators better understand the value
grounded in performance based of music and its fundamental role
learning. within the school curriculum.
As Music and Arts are performance- • He emphasizes that music educators
based disciplines, effective learning need not establish discipleship to one
occurs through: particular person or point of view of
aesthetic education.
 active experience
• The ideal of “Music Education as
 participation, and performance
Aesthetic Education” (MEAE) does
 creative expression
not exist as a particular collection of
 aesthetic valuation
fixed certainties.
 critical response
 interpretation • It supports the attitude that
philosophical truths develop and
Skills developed are: transform as we advance and verify
new ideas.
 Reading/Analyzing
 Listening/Observing MULTIPLE
 Performing (singing, using musical INTELLIGENCES
instruments, movement, acting, and
playing) - Howard Gardner
 Using different art materials, Musical-Rhythmic and Harmonic
techniques and processes,
This area has to do with sensitivity to
 Responding
sounds, rhythms, tones, and music.
 Composing
 Creating Visual-Spatial
Philosophy and Rationale for ARTS This area deals with spatial judgment
Education and the ability to visualize with the mind's
 Arts has been present since the eye.
beginning of civilization as it is an Verbal-Linguistic
essential means for man to live and
communicate with others. People with high verbal-linguistic
 It has been used to enhance man’s life intelligence display a facility with words and
and surroundings, to express his languages.
thoughts, dreams, and spiritual
Logical-Mathematical times to help enter them into long-
term memory.
This area has to do with logic, abstractions,
reasoning, numbers and critical thinking. Multicultural Approach

Bodily-kinesthetic  Contributions

The core elements of the bodily- Teachers provide examples of the

kinesthetic intelligence are control of one's relevant contributions and heroic
bodily motions and the capacity to handle accomplishments of people from
objects skillfully. different races and cultures, without
changing the lesson plan or goals of
Interpersonal
Additive
Characterized by their sensitivity to others'
moods, feelings, temperaments, motivations,  This approach requires adding cultural
and their ability to cooperate in order to realities that traditionally are left out
of a curriculum that focuses on a
work as part of a group.
traditional holiday.
Intrapersonal Transformation
This area has to do with introspective and
 The transformation approach seeks to
self-reflective capacities. change the attitudes about cultural
Naturalistic differences by using a different
curriculum, one that encourages
Individual who is readily able to recognize students to view problems and
flora and fauna, to make other consequential concepts from the perspective of
distinctions in the natural world, and to use different cultures.
this ability productively (in hunting, in
farming, in biological science).
Integrative Approach
DISCIPLINE-BASED ART
EDUCATION • It also known as integrative therapy.

Elliot Eisner • It is a type of therapy in which the

affective, behavioral, cognitive,
• Dr. Eisner encourages instruction that physical, social, and spiritual aspects
supports and expands creative self- of an individual aspects of an
expression. individual are used in their treatment. 
• It helps a student learn not only how Content of Arts per Grade Level
to create art but how to respond to,
interpret, and judge art. Kindergarten- Exposure to the Different
Music and Art Processes (Experiential
Spiral Approach Learning)
 It is a technique where first the basic Grade 1- Introduction to the
facts of a subject are learned, without Fundamental Process
worrying about details. Then as
learning progresses, more and more Grade 2- Enhanced Understanding of
details are introduced, while at the Fundamental Processes
same time they are related to the
basics which are reemphasized many
 Grade 3- Preliminary Acquisition of NMSA is built upon a dual arts and
Basic Knowledge academic curriculum. Our teachers,
students, and families all hold the belief that
Grade 4- Formal Introduction to
both arts and academics are equally
Elements/Processes
important. Our goal is to prepare students
Grade 5- Exploration- for professional careers in the arts, while
Elements/Processes also equipping them with the skills and
content knowledge necessary to succeed in
Grade 6- Application for Appropriate college. From our personal experience (and
Mastery and Acquisition research), here are five benefits of an arts
Grade 7- Application- Philippine Folk education:
Music and Arts 1. Growth Mindset
Grade 8- Application- Asian Music and Through the arts, students develop skills like
Arts resilience, grit, and a growth mindset to help
Grade 9- Application-Western Music them master their craft, do well
and Arts academically, and succeed in life after high
school. (See Embracing Failure: Building a
Grade 10- Application of Contemporary Growth Mindset Through the Arts and
Music and Arts Mastering Self-Assessment: Deepening
Grade 11- Mastery of Proficiency in the Independent Learning Through the Arts.)
Chosen Form or Genre Ideally, this progression will happen
naturally, but often it can be aided by the
Grade 12- Mastery of Proficiency in the teacher. By setting clear expectations and
Chosen Form or Genre goals for students and then drawing the
correlation between the work done and the
results, students can begin to shift their
Creativity and Academics: The Power of motivation, resulting in a much healthier and
an Arts Education more sustainable learning environment.
Increased self-confidence and self- For students to truly grow and progress,
understanding, enhanced communication there has to be a point when intrinsic
skills, and improved cognition are among motivation comes into balance with extrinsic
the many reasons for teaching the arts. motivation. In the early stages of learning an
art form, students engage with the activity
The arts are as important as academics, and
because it's fun (intrinsic motivation).
they should be treated that way in school
However, this motivation will allow them to
curriculum. This is what we believe and
progress only so far, and then their
practice at New Mexico School for the Arts
development begins to slow -- or even stop.
(NMSA). While the positive impact of the
At this point, lean on extrinsic motivation to
arts on academic achievement is worthwhile
continue your students' growth. This can
in itself, it's also the tip of the iceberg when
take the form of auditions, tests, or other
looking at the whole child. Learning art goes
assessments. Like the impact of early
beyond creating more successful students.
intrinsic motivation, this kind of engagement
We believe that it creates more successful
will help your students grow and progress.
human beings.
While both types of motivation are helpful
and productive, a hybrid of the two is most
successful. Your students will study or delivery system for these concepts, as well.
practice not only for the external rewards, You can see this in the correlation between
but also because of the self-enjoyment or drawing and geometry, or between meter
satisfaction this gives them. and time signatures and math concepts such
as fractions.
2. Self-Confidence
4. Communication
A number of years ago, I had a student enter
my band program who would not speak. One can make an argument that
When asked a question, she would simply communication may be the single most
look at me. She loved being in band, but she important aspect of existence. Our world is
would not play. I wondered why she would built through communication. Students learn
choose to join an activity while refusing to a multitude of communication skills by
actually do the activity. Slowly, through studying the arts. Through the very process
encouragement from her peers and myself, a of being in a music ensemble, they must
wonderful young person came out from learn to verbally, physically, and
under her insecurities and began to play. emotionally communicate with their peers,
And as she learned her instrument, I conductor, and audience. Likewise, a cast
watched her transform into not only a self- member must not only communicate the
confident young lady and an accomplished spoken word to an audience, but also the
musician, but also a student leader. Through more intangible underlying emotions of the
the act of making music, she overcame her script. The arts are a mode of expression that
insecurities and found her voice and place in transforms thoughts an and emotions into a
life. unique form of communication -- art itself.

3. Improved Cognition 5. Deepening Cultural and Self-

Understanding
Research connects learning music to
improved "verbal memory, second language While many find the value of arts education
pronunciation accuracy, reading ability, and to be the ways in which it impacts student
executive functions" in youth (Frontiers in learning, I feel the learning of art is itself a
Neuroscience). By immersing students in worthwhile endeavor. A culture without art
arts education, you draw them into an isn’t possible. Art is at the very core of our
incredibly complex and multifaceted identity as humans. I feel that the greatest
endeavor that combines many subject gift we can give students -- and humanity --
matters (like mathematics, history, language, is an understanding, appreciation, and ability
and science) while being uniquely tied to to create art.
culture.

For example, in order for a student to play in

tune, he must have a scientific The Elements of Art
understanding of sound waves and other -The Ingredients for a great Composition
musical acoustics principles. Likewise, for a
WHAT ARE THE ELEMENTS OF ART?
student to give an inspired performance of
Shakespeare, she must understand social, The Elements of Art are the “tools” that artists use to
cultural, and historical events of the time. make art. There are 7 of them:

The arts are valuable not only as stand-alone Line Value Texture
subject matter, but also as the perfect link
Shape Form Space Color
between all subject matters -- and a great
 1. Line Turning Shapes into Forms

A line is a path that a point takes through space. Lines In order to turn a circle into a sphere, you must shade
can be thick, thin, dotted or solid. They can make it. You can’t add another side to it!
straight movements, zig-zags, waves or curls.
4. Value
-They may be horizontal, vertical, and diagonal.
Value is the lightness or darkness of a color. Value
Horizontal Lines are generally restful, like the horizon, makes objects appear more real because it imitates
where the sky meets land natural light. When showing value in a work of art, you
will need a LIGHT SOURCE.
Vertical lines seem to be reaching, so they may seem
inspirational like tall majestic trees or church steeples A light source is the place where the light is coming
from, the darkest areas are always on the opposite side
Diagonal lines tend to be disturbing. They suggest of the light.
decay or chaos like lightening or falling trees
In order to have a successful drawing, you will need to
 Lines can convey emotion as well. They may show a full value range, which means that there are
show excitement, anger, calmness, tension, very light areas, middle tones, and very dark areas. This
happiness and many other feelings. Because of is a way of giving a work of art Contrast.
this, some are said to be expressive.
In drawing value can be added several ways:

Expressive Lines tend to be found in nature and are WAYS VALUE CAN BE ADDED:
very organic
Cross-hatching is when you use irregular lengths of
Other lines that are very measured, geometric, parallel lines that cross over each other diagonally. The
directional and angular are called Constructive lines. closer together the lines are placed, the darker the
They tend to appear to be man-made because of their value.
precision.
Stippling is the use of dots to create shade. This is
2. Shape accomplished by placing dots very close together to
create dark values and farther apart to create lighter
Shape is created when a line becomes connected and values.
encloses space. It is the outline or outward appearance
of something. Shapes are 2 Dimensional (2-D) which Soft shading is when you use your pencil to create soft
means there are 2 ways they can be measured. gradual movements from one value to the next using
full value range.
You can measure its HEIGHT and its WIDTH.
5. Color
THERE ARE TWO BASIC TYPES OF SHAPE.
Color can add interest and reality to artwork. The use of
Geometric shapes have smooth even edges and are a 12-step color wheel will help us understand color
measurable. They include the square, the circle, the more effectively. When light is reflected through a
triangle and the rectangle. prism, colors can be seen
Organic shapes have more complicated edges and are These colors are: Red, Yellow, Orange, Green, Indigo,
usually found in nature. Leaves, flowers, ameba, etc. Blue and Violet
3. Form Remember the anagram: ROY G BIV
A Form is a shape that has become 3- Dimensional (3-D) Color Wheel
Form has HEIGHT, WIDTH and DEPTH--which is the 3rd
dimension. Depth shows the thickness of the object. A long time ago, artists decided that these colors would
Forms are NOT flat like shapes are! be more useful to them if they were placed in a wheel
fashion. This became known as the color wheel.
Turning Shapes into Forms
There are 3 primary colors:
-A triangle becomes a cone or a pyramid
Red, Yellow and Blue
-A square becomes a cube
These colors are primary for 2 reasons:
1. They can’t be mixed to be made Color Temperatures

2. They make all the other colors on the color wheel Warm colors are those that have Reds, Yellows and
Oranges. Warm colors seem to advance (or come
When you mix 2 primary colors together, you get a forward) in an artwork.
secondary color. For example:
Cool colors are those that have Blues, Greens and
-Red and Yellow=Orange Violets. Cool colors seem to recede (or go back into) an
-Red and Blue=Violet artwork.

-Yellow and Blue= Green 6. Texture

When you mix a primary and a secondary color Texture is the way the surface of an object actually
together you get an intermediate (or tertiary) color For feels.
example:
In the artistic world, we refer to two types of texture---
-Red and Orange= Red-Orange tactile and implied

-Yellow and Green=Yellow-Green Tactile (or Real) Texture is the way the surface of an
object actually feels. Examples would be sandpaper,
-Blue and Green=Blue-Green cotton balls, tree bark, puppy fur, etc.

-Red and Violet=Red-Violet Implied Texture is the way the surface of an object
looks like it feels. This is the type of texture that artists
-Yellow and Orange=Yellow-Orange
use when they draw and paint. Textures may look
-Blue and Violet=Blue-Violet rough, fuzzy, gritty, or scruffy, but can’t actually be felt.

Color Schemes 7. Space

Color is divided into groups based on the way they are Space is basically divided into 3 parts: Foreground,
placed on the color wheel: Middle Ground and Background

3-4 colors “next-door-neighbors” to each other creates Generally, the background area is considered to be the
an analogous color scheme upper 1/3 of the picture plane. The middle ground area
is considered to be the middle 1/3 of the picture plane.
2 colors that are directly opposite each other (going The foreground area is considered to be the lower 1/3
across the center) creates a complimentary color of the picture plane.
scheme
Space can be shallow or deep depending on what the
A Triadic color scheme uses 3 colors that are equally artist wants to use. Shallow space is used when the
spaced apart on the color wheel artist has objects very close to the viewer.
When you use only one color plus its tints and shades, Deep Space may show objects up close but objects are
you are using a monochromatic color scheme shown far away too.
A tint is a color plus white Positive and Negative space is a way that an artwork is
divided. When planning a work of art, both areas must
A shade is a color plus black
be examined so that they balance one another. Drawing
Colors have temperatures items running off the page and zooming in on objects
are ways to create visual interest within a work.
Colors can convey emotion and feelings too.
Positive space is the actual object(s) within the artwork
Have your ever felt “blue?”
Negative Space is the area in and around the objects. It
Been “green’ with envy? is the “background” and it
Called a “yellow” coward? contributes to the work of
art---you can’t have positive
It is important that artists understand the effects of space without negative
color when they are trying to get the viewers of their art space
to feel a particular way.
Perspective is also a way of showing space in a work of
art. Perspective is when the artist uses a vanishing point
on the horizon and then creates a sense of deep space
by showing objects getting progressively smaller as they Radial Symmetry
get closer to the vanishing point.
A form of balance than is even, radiating out from a
Objects may overlap as well. When objects are central point to all four quadrants of the shape’s
overlapped it is obvious that enough space had to be in constraining plane.
the picture to contain all the objects that have been
included

PRINCIPLES OF ARTS
1. Harmony

Harmony in art and design is the visually satisfying

effect of combining similar, related elements.

For instance: adjacent colors on the color wheel, similar Asymmetry

shapes etc.
A form of balance attained when the visual units on
balance either side of a vertical axis are not identical but
are placed in positions within the picture plane so as to
create a “felt” equilibrium of the total form concept.

2. Balance

A feeling of equality in weight, attention, or attraction of

the various visual elements within the pictorial field as a
means of accomplishing organic unity.

TYPES OF BALANCE

Symmetry 3. Proportion

A form of balance achieved by the use of identical Proportion is the comparison of dimensions or
balance compositional units on either side of a vertical distribution of forms.
axis within the picture plane.
It is the relationship in scale between one element and
another, or between a whole object and one of its
parts.

Proportion (Ratio)

Approximate Symmetry
Proportion (Scale)
Achieved by the use of similarly balanced compositional
units on either side of a vertical axis within the picture
plane.
 4. Dominance/Emphasis A few good strategies to evoke a sense of movement
(among many others) are using diagonal lines, placing
The principle of visual organization that suggests that shapes so that the extend beyond the boundaries of the
certain elements should assume more importance than picture plane, and using changing values.
others in the same composition.

It contributes to organic unity by emphasizing the fact

that there is one main feature and that other elements
are subordinate to it.

In the below examples, notice how the smaller

elements seem to recede into the background while the
larger elements come to the front. 7. Rhythm
Pay attention to both scale and value of the objects that A continuance, a flow, or a feeling of movement
recede and advance. achieved by the repetition of regulated visual
information.

Regular Rhythm

5. Variety
Progressive Rhythm
Variety is the complement to unity and harmony, and is
needed to create visual interest.

Without unity and harmony, an image is chaotic and

“unreadable;” without variety it is dull and
uninteresting.

Good design is achieved through the balance of unity

and variety; the elements need to be alike enough so
we perceive them as belonging together and different
enough to be interesting. Flowing Rhythm

TAEG (MIDTERM)
6. Movement WEEK 7 (PAINTING AND DRAWING)
Movement is the path our eyes follow when we look at
PAINTING
a work of art, and it is generally very important to keep
a viewer’s eyes engaged in the work. Harmony in Plants

Without movement, artwork becomes stagnant. • Painting is an art form dating way back
thousands of years ago.
 • It is the process of using paint to express • Red-violet
ideas and emotions.
Landscape Painting
Harmony in Plants
• Harmony in nature is depicted through the
• There are different techniques in painting different combination of colors in the
and one of this is the resist technique. landscape painting.

Harmony in Plants Still Life Painting of Fruits

• The primary colors are red, blue, and • Still life painting is an arrangement of
yellow. inanimate objects whether natural or man-
made objects.
• We can for the Secondary Colors by mixing
the primary colors. • Fruits can be good subjects in drawing and
painting.
Harmony in Plants
Tints and Shades of Color
• Color which are opposite to each other are
called complementary colors. • Colors vary. There are colors that are light
and dark.
• Examples:
• Value – the lightness (tints) or darkness
• blue and orange (shades) of a color.
• red and green Tints and Shades of Color
Harmony in Plants • Tints are light values that are made by
• Harmony in painting is a pleasing visual mixing a color with white.
arrangement of colors. • For example, pink is a tint of red, and light
• It is created when secondary colors and blue is a tint of blue.
their opposite colors are complementary Tints and Shades of Color
colors in the color wheel are used.
• Shades are dark values that are made by
Landscape Painting mixing a color with black.
• Painting a landscape at different times of • Maroon is a shade of red, and navy is a
the day is a challenging activity for artists. shade of blue.
• Most paintings are affected by the mood of Tints and Shades of Color
the artist.
• Graduation of tints and shade depends on
Landscape Painting the amount of white or black paint added.
• Painting with bright colors gives out the Painting of Animals
feeling of happiness
• The physical characteristic of animals such
• Yellow as their varied sizes, color, texture, and body
• Red coverings add to the beauty of nature.

• Orange Painting of Animals

Landscape Painting • Painting could be made realistic by adding

line, colors, and texture.
• Painting with dull and dark colors suggests
loneliness and sadness. • There are many kinds of coloring materials.

• Blue Painting of Animals

• Blue-green • Coloring materials:

 • Water color • Cross hatch lines are marks of two or more
sets of intersecting parallel lines while
• Acrylic pointillism is a technique done by applying
• Charcoal small dots to a surface to form a picture.

• Leaves Landscape Drawing

• Flowers • An artist makes objects appear bigger and

smaller in/her drawing depending on their
DRAWING placement or position in the foreground,
middle ground, and background.
LINE
• Objects in the foreground are usually big
• It is formed when two points are connected.
because they appear to be in the front and
• A line can be thick, thin, wide, or narrow. nearest to the viewer while objects in the
backgrounds appear smaller for they are far
• There are two kinds of line: straight lines & from the viewer.
curve lines
• Objects in the middle ground are found
• Geometric designs are designs based on between the background and foreground.
lines or simple shapes such a rectangles,
triangles, and circles. • The principle of balance is shown in the
picture through the distribution of objects
• Straight Lines seen in the foreground, middle ground, and
background within the composition.
• horizontal lines
Textures and Shapes
• vertical lines
• Sketching is a fast way to record
• diagonal lines
observations of what you see. These lines
• broken lines and forms are often simple but beautiful.

• Curve Lines • Lines and shapes are used in making

sketches.
• wavy
• A sketch is an incomplete work of art which
• spiral may lack details and color.
DRAWING • A guide used for final work.
People of Different Sizes Pencil Drawing
• In a drawing, the sizes of objects may differ. • Work or occupation is important to our
• Objects look smaller when they are far from lives.
the viewer, and larger when they are near. • It is an activity that serves as one’s regular
Illusion of Space source of livelihood to earn money for his
family.
• The use of illusion of space is a technique
or process used by an artist to show distance, Historical Houses and Buildings
depth, and width in an artwork. • Lines and shapes are very important for us
Visual Texture to represent or draw objects.

• Still life drawing is one of the processes in • We should remember and apply the use of
showing one’s creativity. foreground, middle ground, and background.

• We can use cross hatch lines and pointillism

to produce visual textures.
 WEEK 8 (PRINTING) • A slogan is a phrase used to communicate a
message.
Nature Print
• You can make a logo and slogan and be
• Items found in nature like twigs, leaves, able to duplicate it through printing.
stones, bark, branches, feathers, and others
can be used to create unique designs in • Stamp printing can make use of discarded
printmaking. materials such as bottle caps, paper clips,
hair clips, and many more as printing tools
• Printmaking is a process of transferring or for making a logo to promote environmental
reproducing text and images typically with awareness.
ink on paper or on other materials.
Printing Using Found Objects
Marbling
• Most of our belongings have printed
• Paper marbling is a method involving water designs.
in making a design. It can produce patterns
similar to smooth marble or other stone. • Some of the designs are shapes, lines,
words, flower, animals, sceneries faces, etc.
• The patterns are the result of color floated which may be real or abstract.
on either plain water or a solution known a
size, and then carefully transferred to an • Design which do not appear like real objects
absolute surface, such as paper or fabric. are called abstract. It has no concrete shape
or form.
• Paper marbling is a method used for making
a design in which paper or fabric is WEEK 9 (SCULPTURE)
decorated with swirling patterns similar to a
marble stone. PRINTINGMAKING

Finger Printing Finger Puppet

• It is an act of making designs with the use • Puppets are effective means of educational
of fingerprints. entertainment.

• This artwork is simpler than other art • A finger puppet is a miniature puppet fitting
processes because artists can make different over and manipulated by one finger or all
designs with their fingers. fingers.

• It is so easy to do. Just let the “fingers do the Sock Puppet

pressing” and we can never imagine the • Puppets today are widely considered as
number of designs with varied sizes and entertainment for children.
colors that we can create simply with our
fingers. • By reusing materials that can be recycled,
we help protect our environment.
Stencil Making
3D and Sculpture
• Stencil print designs can be used repeatedly
on different objects, materials, or garments. Mask Making

• Stencils or print designs can be multiplied • In other place, masks are used by the people
many times by hand or machine. for merrymaking and special occasions.

Logo Printing • Masks range from simple bag masks to

more elaborately-shaped and painted ones.
• A logo is a mark commonly used by
commercial enterprises, organizations, and WEEK 10 (DIGITAL ART)
even individuals to aid and promote instant
public recognition. DIGITAL ART
  It is an overarching term that refers to all  This is a technique of combining many
mechanized or computer-based art. images from varying sources into one image.

 It is an art generated with the aid of digital  This is the “mixed media” of the digital art
technology. world.

 Any form of artwork that is produced or 2D Digital Painting

manipulated through digital medium
 The artist creates 2D images totally in the
(software, graphics, and renderers)
computer virtual environment with the use
Types of Digital Art of painting tools that emulate natural media
styles.
Digital Photography
 Sometimes referred to as “Natural Media”.
 The artist uses a digital or conventional
camera. 3D Digital Painting

 The photographs are digitized and translated  The artist uses 3D modeling and rendering
to the computer environment where the artist software to essentially sculpt in virtual
uses image editing and special effects space.
software to perform darkroom type
 This method also makes use of all of the
manipulations.
other methods.
Vector Drawing
3D Modeling
 The artist uses vector drawing software and
 In 3D-computer graphics, 3D modeling is
creates the image totally in the virtual
the process of developing a mathematical
environment.
representation of any three-dimensional
 This makes use of shapes which are outlined surface of an object (either inanimate or
and can be filled with various colors and living) via specialized software.
patterns.
TAEG (FINALS)
Algorithmic/Fractals
WEEK 13 (THE ART OF LESSON
 This is art produced exclusively by PLANNING)
mathematical manipulations.
The Art of Lesson Planning
 This is the so-called “computer generated
art. • A lesson plan is the instructor’s road map of what
Photo Painting students need to learn and how it will be done
effectively during the class time.
 This combines the disciplines of
photography and painting.
• You can design appropriate learning activities and
 The artist uses image editing and paint develop strategies to obtain feedback on student
software to go beyond dark room technique
learning.
to add further expression the image.

Digital Collage • A successful lesson plan addresses and integrates

three key components:
 This is a technique of combining many
images from varying sources into one image.
1. Learning Objectives
 This is most commonly achieved by the use
of layering technique in image editing and 2. Learning activities
paint software.
3. Assessment to check for student understanding
Integrated Digital Art
• A lesson plan provides you with a general outline The Bloom’s Revised Taxonomy of Education
of your teaching goals, learning objectives, and Objectives is useful resource for crafting learning
means to accomplish them, and is by no means objectives that are demonstrable and measurable.
exhaustive.
2. Plan the specific learning activities
• A productive lesson is not one in which everything
Some questions to think about as you design the
goes exactly as planned, but one in which both
learning activities you will use are:
students and instructor learn from each other.
• What will I do to explain the topic?
BEFORE THE CLASS:
• What will I do to illustrate the topic in a different
 Identifying the learning objectives
way?
 Plan the specific learning activities,
assessments, and the sequence of the lesson. • How can I engage students in the topic?

 Create a realistic timeline

• What are some relevant real-life examples,
 Plan for a lesson closure analogies, or situations that can help students

DURING THE CLASS: understand the topic?

• What will students need to do to help them

 Share the lesson plan with your students
understand the topic better?
helps keep them more engaged and on track.

Many activities can be used to engage learners. The

AFTERB THE CLASS:
activity types (i.e. what the student is doing) and
 Reflect on what worked well and why, and their examples provided below are by no means an
what you could have done differently. exhaustive list, but will help you in thinking through
how best to design and deliver high impact learning
Before Class: Steps for Preparing A Lesson Plan
experiences for your students in a typical lesson.
1. Identify the learning objectives

A learning objective describes what the learner will

know or be able to do after the learning experience
rather than what the learner will be exposed to
during the instruction (i.e. topics). Typically, it is
written in a language that is easily understood by
students and clearly related to the program learning
outcomes. The table below contains the
characteristics of clear learning objectives:
 instructors to offer targeted feedback that can guide
further learning.

• Planning for assessment allows you to find out

whether your students are learning. It involves
making decisions about:

✓ the number and type of assessment tasks that will

best enable students to

✓ the criteria and standards that will be used to

make assessment judgements

✓ student roles in the assessment process

✓ the weighting of individual assessment tasks and

the method by which individual task judgements
will be combined into a final grade for the course

✓ the provision of feedback

4. Plan to sequence the lesson in an engaging

and meaningful manner.

Robert Gagne proposed a nine-step process called

the events of instruction, which is useful for
planning the sequence of your lesson. Using
Gagne’s 9 events in conjunction with Bloom’s
Revised Taxonomy of Educational Objectives aids
It is important that each learning activity in the in designing engaging and meaningful instruction.
lesson must be:
1. Gain attention: Obtain students’ attention so that
1. aligned to the lesson’s learning objectives they will watch and listen while the instructor
presents the learning content.
2.meaningfully engage students in active,
constructive, authentic, and collaborative ways • Present a story or a problem to be solved

3. useful where the student is able to take what they • Utilize ice breaker activities, current news and
have learnt from engaging with the activity and use events, case studies, YouTube videos, and so on.
it in another context, or for another purpose. The objective is to quickly grab student attention
and interest in the topic
3. Plan to assess student understanding
• Utilize technologies such as clickers, and surveys
• Assessments (e.g., tests, papers, problem sets,
to ask leading questions prior to lecture, survey
performances) provide opportunities for students to
opinion, or gain a response to a controversial
demonstrate and practice the knowledge and skills
question
articulated in the learning objectives, and for
2. Inform learner of objectives: Allow students to • Provide instructional support as needed – as
organize their thoughts regarding what they are scaffolds (cues, hints, prompts) which can be
about to see, hear, and/or do. removed after the student learns the task or content

• Include learning objectives in lecture slides, the • Model varied learning strategies – mnemonics,
syllabus, and in instructions for activities, projects concept mapping, role playing, visualizing
and papers
• Use examples and non-examples
• Describe required performance
6. Practice: Allow students to apply knowledge and
• Describe criteria for standard performance skills learned.

3. Stimulate recall of prior knowledge: • Allow students to apply knowledge in group or

individual activities
• Help students make sense of new information by
relating it to something they already know or • Ask deep-learning questions, make reference to
something they have already experienced. what students already know or have students
collaborate with their peers
• Recall events from previous lecture, integrate
results of activities into the current topic, and/or • Ask students to recite, revisit, or reiterate
relate previous information to the current topic information they have learned

• Ask students about their understanding of previous • Facilitate student elaborations – ask students to
concepts elaborate or explain details and provide more
complexity to their responses
4. Present new content: Utilize a variety of
methods including lecture, readings, activities, 7. Provide feedback: Provide immediate feedback
projects, multimedia, and others. of students’ performance to assess and facilitate
learning. • Consider using group / class level
• Sequence and chunk the information to avoid
feedback (highlighting common errors, give
cognitive overload
examples or models of target performance, show
• Blend the information to aid in information recall students what you do not want)

• Bloom's Revised Taxonomy can be used to help • Consider implementing peer feedback
sequence the lesson by helping you chunk them into
• Require students to specify how they used
levels of difficulty.
feedback in subsequent works
5. Provide guidance: Advise students of strategies
8. Assess performance: To evaluate the
to aid them in learning content and of resources
effectiveness of the instructional events, test to see
available. With learning guidance, the rate of
if the expected learning outcomes have been
learning increases because students are less likely to
achieved. Performance should be based on
lose time or become frustrated by basing
previously stated objectives.
performance on incorrect facts or poorly understood
concepts. • Utilize a variety of assessment methods including
exams/quizzes, written assignments, projects, and
so on.
9. Enhance retention and transfer: Allow • Correct students’ misunderstandings
students to apply information to personal contexts.
• Preview upcoming topics
This increases retention by personalizing
information. Your students will find your closure helpful for:

• Provide opportunities for students to relate course • Summarizing, reviewing, and demonstrating their
work to their personal experiences understanding of major points

• Provide additional practice • Consolidating and internalizing key information

5. Create a realistic timeline • Linking lesson ideas to a conceptual framework

and/or previously-learned knowledge
A list of ten learning objectives is not realistic, so
narrow down your list to the two or three key • Transferring ideas to new situations
concepts, ideas, or skills you want students to learn
There are several ways in which you can put a
in the lesson. Your list of prioritized learning
closure to the lesson:
objectives will help you make decisions on the spot
and adjust your lesson plan as needed. Here are • state the main points yourself (“Today we talked
some strategies for creating a realistic timeline: about…”)

• Estimate how much time each of the activities will • ask a student to help you summarize them
take, then plan some extra time for each
• ask all students to write down on a piece of paper
• When you prepare your lesson plan, next to each what they think were the main points of the lesson
activity indicate how much time you expect it will
During the Class: Presenting Your Lesson Plan
take
• Letting your students know what they will be
• Plan a few minutes at the end of class to answer
learning and doing in class will help keep them
any remaining questions and to sum up key points
more engaged and on track.
• Plan an extra activity or discussion question in
• Providing a meaningful organization of the class
case you have time left
time can help students not only remember better,
• Be flexible – be ready to adjust your lesson plan to but also follow your presentation and understand the
students’ needs and focus on what seems to be more rationale behind the planned learning activities.
productive rather than sticking to your original plan
• You can share your lesson plan by writing a brief
6. Plan for a lesson closure agenda on the whiteboard or telling students
explicitly what they will be learning and doing in
Lesson closure provides an opportunity to solidify
class.
student learning. Lesson closure is useful for both
instructors and students. You can use closure to: After the Class: Reflecting on Your Lesson Plan

• Check for student understanding and inform • Take a few minutes after each class to reflect on
subsequent instruction what worked well and why, and what you could
have done differently.
• Emphasize key information

• Tie up loose ends

• Identifying successful and less successful
organization of class time and activities would make
it easier to adjust to the contingencies of the
classroom. If needed, revise the lesson plan.