Students write descriptions and create portraits of characters from the fairy tales of Hans Christian Andersen using a variety of media.

This lesson focuses on different exterior spaces depicted in works of art. Students practice using vocabulary associated with the weather and how people react to the sea. Activities in this section teach students about some of the elements of art (color and line), adjectives, and two kinds of sentences (declarative and imperative).

This lesson focuses on exterior spaces depicted in works of art. Students practice using vocabulary associated with the weather and time of day. Activities in this section teach students about some of the elements of art (color and line) and about writing descriptions of the weather and time of day.

Explore the definition of a portrait. Students discuss two of Dorothea Lange's portraits and create their own portraits of their classmates.

Students will discuss works of art that have grotesque elements and symmetry in their design. They will identify symmetry and line in grotesques. Students will create symmetrical designs for a pilgrim bottle and also design a door panel using grotesques. They will then analyze William Blake's poem "The Tiger" and write their own grotesque-inspired poetry.

Students will compare propagandistic strategies in artworks to modern-day examples of persuasive techniques and create a propaganda poster for a current political leader.

Students will examine the influence of Greek and Roman mythology on art, discuss strategies of propaganda in an ancient portrait and a 17th-century cabinet, and create a campaign poster for a classroom candidate that uses Greek or Roman iconography.

Students will learn about the Protestant Reformation and the Catholic Counter Reformation as related events. They will analyze works by the artists Rubens and Rembrandt, and use the artworks to illustrate the divergent beliefs and philosophies of the two movements.

Students explore the concept of a sacred place by looking at works of art representing sacred spaces, and studying the California missions. They explore perspective and point of view in both the visual and literary senses. Students create a project poster displaying photos, drawings, and journal writings that incorporate the major themes of California's missions, and use perspective and point of view both visually and in writing.

Students will learn how images have been used to persuade people in the past and present about a specific message or idea. They will research the 17th-century European Counter-Reformation and discuss how a sculpture of a saint might have been used as a persuasive image in a Catholic convent or monastery. Working in teams, students will then create sculptures commissioned by "patrons" and write press releases to promote their creations.

Students generate new vocabulary by discussing descriptive words, or adjectives, and the names of shapes they see in a still life painting. Inspired by an object in the painting, students then use their new vocabulary to create a shape poem.

This lesson is part of a sequential unit. Students participate in a class critique of the symbolic sculptures they created. They critique the work of their peers by responding to questions about the symbolic content and applying criteria for sculpture developed in Lesson 1.

Students will create their own work of art that serves as a social commentary. Students will make a moral or ethical statement in their work and use elements of the Neoclassical style to communicate their message.

This is the first lesson in a sequential unit. Students look at and discuss still-life paintings and develop a definition for the genre. They then further their understanding of this type of painting and practice watercolor techniques by painting their own still lifes from direct observation. Art production focuses on the tools used to create the illusion of three-dimensional space and convey texture in watercolors.

This lesson is part of a sequential unit. Students choose meaningful objects for a still-life arrangement and paint it using watercolors. After reflecting on their choice of objects and composition, students begin to write an artist's statement.

This lesson is part of a sequential unit. Students paint the same still-life arrangement from Lesson 2, but in an opaque medium. They compare similarities and differences of working with the transparent and opaque mediums and refine their artist's statements.

This lesson is part of a sequential unit. Students display the two still-life paintings that they created in previous lessons along with their artist's statements. They write a review of a peer's work and discuss all of the paintings in a group critique.

Students will plan and design a still life composition. When composing the still life, students will choose objects that emphasize a variety of shapes and textures, and arrange the objects to reflect balance. Next students will create a photographic still life and use it as inspiration to write a poem. Then students will present the still life photograph and poem to the class.

Students will discuss a narrative work of art in order to interpret and understand the theme from the "Open Court" unit on "Risks and Consequences." Students imagine the events occurring before and after a narrative scene, sketch their ideas, then write a story describing the action and publish their story and illustrations in a book. The works of art and sketches provide a focus to practice writing three-part stories with dialogue and using adjectives and prepositions.

Students will examine a scene depicting Herakles (known as Hercules to the Romans) and the Hydra on the face of a black-figure "hydria". They will then read Greek myths and choose one to depict in the style of the vase painter, known as the Eagle Painter.