Ultimate Assessment Guide
Ultimate Assessment Guide
TO
ASSESSMENT
IN THE ART ROOM
FORMATIVE ASSESSMENTS
SUMMATIVE ASSESSMENTS
Self-assessment checklists
Student observation checklist
Self-assessment rubric
Artist statement template
and guide
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PEER FEEDBACK:
TAG Sticky Notes
This TAG peer feedback activity is a great way to encourage efficient and authentic
feedback between peers before completing a project.
1
Have students start the process by writing the word TAG down the left side
of a sticky note. If needed, students should write their names on the backs of
the sticky notes to ensure positive interactions.
Play music as students walk around the room, viewing the artwork as they
pass by.
When the music stops, students should sit down at the closest artwork,
being sure not to choose their own.
Students should then respond to the three letter prompts on their sticky
notes according to the artwork that is in front of them (see prompts below).
This activity provides the entire class with a short peer critique that not only gives
them positive compliments but also constructive criticism to use moving forward.
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PEER FEEDBACK:
Fill-in-the-Blank
Peer feedback can be difficult for some students if they are not given prompts
to follow. Use this mini feedback form to assist students with providing clear,
descriptive and relevant feedback. Younger students may benefit from the prompts
being read aloud to them and then discussing orally with a partner.
Artists Name:
Artists Name:
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STUDENT SELF-REFLECTION:
2 Stars and a Wish
1
Begin with giving each student a copy of the rectangle below. Better yet,
laminate them and re-use them over and over!
Explain to students that the 2 Stars are aspects of their work that they are
most proud of. The Wish is something that they would like to improve upon or
change for next time.
Name:
Name:
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STUDENT SELF-REFLECTION:
Artistic Behaviors
Use the list of prompts below to encourage meaningful student reflection. The list
also serves as an outline for universal artistic habits. Its perfect for both choicebased art rooms and more traditional methods of art education.
1
I take risks.
Did you try something that you were not sure about as part of this project?
Did you pick a material or technique that was new or different over
something that was familiar?
We collaborate.
Did you ask another student for feedback during your work process?
Did someone help you understand important information or inspire you?
I solve problems.
How did you respond to challenges that occurred as you worked?
Did your work take an unexpected turn due to a mistake or did something
happen that was unplanned?
I reflect.
When did you step back and analyze your work during this project?
Did you consider how ideas would work before you tried them?
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STUDENT SELF-REFLECTION:
Reflection Taxonomy
CREATING
EVALUATING
ANALYZING
APPLYING
UNDERSTANDING
REMEMBERING
Questions adapted from: Pappas, Peter. A Taxonomy of Reflection: A Model for Critical Thinking. 2010.
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EXIT SLIPS:
Name:
I discovered:
Name:
I discovered:
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EXIT SLIPS:
3-2-1
Exit slips are a simple way for teachers to quickly evaluate student learning at the
end of a lesson. Prior to the end of class, allow students a few minutes to reflect on
their learning. Use the completed slips to modify future lessons based on student
reflection and feedback.
Artists Name:
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CRITIQUE GUIDE:
I Wonder...
I Wonder...
Name:
Take a close look at the artwork youll be critiquing today. Write three questions
about what you see in the artwork.
1
Notice any elements or principles? Write two questions about how the artist used
E & Ps.
1
Finally, write two questions about the feeling the artwork gives you or the meaning
behind the artwork.
1
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CRITIQUE GUIDE:
Observation Think Sheet
DESCRIPTION
ANALYSIS
INTERPRETATION
JUDGMENT
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CRITIQUE GUIDE:
Visual Literacy
Being visually literate is as important in art education today as any other skill. It is
essential that students are able to utilize their visual literacy skills and be able to
understand, analyze and critique the visual environment surrounding us.
Use this guide below as prompts for students to view images carefully and critically.
See the printable student copy on the next page.
Describe what you see in the piece. What kind of information can you get
from the credit line (if there is one)?
What elements and principles are the most important in the work and
why? How do you know this?
What do you think this work is about? Is there a particular message that
the artist is trying to get across?
What do you think other people should remember about this piece?
What other questions do you have about this work after viewing it?
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Describe what you see in the piece. What kind of information can you get from
the credit line (if there is one)?
What elements and principles are the most important in the work and why?
How do you know this?
What do you think this work is about? Is there a particular message that the
artist is trying to get across?
What do you think other people should remember about this piece?
What other questions do you have about this work after viewing it?
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CRITIQUE GUIDE:
Group Cheat Sheet
Critiquing artwork in a group setting among peers can become more meaningful
and beneficial with a guide. After arranging students in groups, give each group a
copy of this cheat sheet to assist with a dynamic and relevant critique process.
As a group answer: What was our learning goal for this project?
AND/OR
As an individual: What was my goal as an artist with this work?
As an individual answer: How did I achieve the goal through my art making?
State your artwork title, medium used and your goal for this work.
Choose three questions below that you would like your group
members to comment on in response to your work.
One student at a
time, present your
work to the group.
Set a timer to
ensure each group
member gets equal
time throughout
the critique
process.
1.
2.
3.
6. What do you think this artwork means? Why do you think so?
7.
8.
9.
How does the artwork make you feel? What is it about the
work that makes you feel that way?
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FOUNDATION WORKSHEETS:
Elements and Principles
If you teach the elements and principles in your art room, then you know how crucial
it is to review the concepts often. These worksheets can be used to introduce,
review or practice the Elements and Principles of Art with little teacher prep.
Consider using the practice sheets for a quick, formative assessment throughout the
school year or even as a last minute substitute teacher activity.
Name:
LINE
SHAPE
THE ELEMENTS
OF ART
The Elements of Art are the
building blocks of all things visual.
Use this practice sheet to sketch
examples of each element.
COLOR
Name:
FORM
TEXTURE
PATTERN
VALUE
BALANCE
THE PRINCIPLES
OF ART
SPACE
EMPHASIS
UNITY
RHYTHM
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MOVEMENT
CONTRAST
Name:
SHAPE
LINE
THE ELEMENTS
OF ART
The Elements of Art are the
building blocks of all things visual.
Use this practice sheet to sketch
examples of each element.
COLOR
TEXTURE
FORM
VALUE
SPACE
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Name:
BALANCE
PATTERN
THE PRINCIPLES
OF ART
EMPHASIS
MOVEMENT
UNITY
RHYTHM
CONTRAST
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TEACHER FEEDBACK:
Student Conference Guide
Leaving feedback for each project of every student can be a daunting and
impossible task at times. However, research shows that teacher (as well as student)
feedback is one of the most powerful influences on learning and student success
(Hattie & Timperley, 2007). Use the form below as a guide to respond to students
work as a summative assessment or as a conversation outline for a teacher-student
conference.
What was your goal as an artist for this project? Do you feel you achieved
your goal?
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CHECKLISTS:
Self-Assessment Checklist
Using complex rubrics for summative assessments is sometimes unmanageable
and ineffective. Using a student-completed checklist, however, can be an efficient
assessment at the end of a project. Determine the project requirements as a class
activity before a project begins.
Name:
Project:
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RUBRICS:
DEVELOP
CRAFT
4
The materials and tools
I used were chosen
intentionally and
applied with care.
I skillfully incorporated
new techniques as well
as made connections
to my previously made
artwork/experiences.
3
The materials and
tools I used were
chosen carefully.
I applied new
techniques as well
made connections
to other artwork/
experiences.
I attempted new
techniques and tried
to make connections
to other artwork/
experiences.
I challenged myself
to embrace my art
making problems and
developed a distinct
focus within my work.
I challenged myself to
not let my art making
problems hinder my
work too much; I
developed a focus
within my work.
ENVISION
I imagined and
practiced many ideas/
processes before and
during my art making.
EXPRESS
My work
communicates an idea,
mood or place.
My work somewhat
shows an awareness of
other viewers.
My work somewhat
communicates an idea.
There is little
awareness of other
viewers.
OBSERVE
I spent an extensive
amount of time observing
my subject matter, art
making processes and /or
the environment around
me that I may have
otherwise missed.
I spent no time
observing my subject
matter, art making
processes and/or the
environment around me.
STRETCH &
EXPLORE
I challenged myself to
explore a new idea or try
out a new media but I
still played it safe.
I experimented with a
new idea or media but
my finished work reflects
what I always do.
UNDERSTAND
THE ART
WORLD
I am very conscious of my
art making process and
my honest self-evaluations
reflect that.
I am aware of my art
making processes and my
self-evaluations reflect
that.
I am unaware of my art
making process and/or I
have no self-evaluations of
my work.
ENGAGE &
PERSIST
REFLECT
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STUDIO HABIT
DEVELOP
CRAFT
4
The materials and
tools I used were
chosen intentionally
and applied with care.
I skillfully incorporated
new techniques as well
as made connections
to my previously made
artwork/experiences.
3
The materials and
tools I used were
chosen carefully.
I applied new
techniques as well
made connections
to other artwork/
experiences.
I attempted new
techniques and tried
to make connections
to other artwork/
experiences.
I challenged myself
to embrace my art
making problems and
developed a distinct
focus within my work.
I challenged myself to
not let my art making
problems hinder my
work too much; I
developed a focus
within my work.
ENVISION
I imagined and
practiced many ideas/
processes before and
during my art making.
EXPRESS
My work
communicates an idea,
mood or place.
My work somewhat
shows an awareness of
other viewers.
My work somewhat
communicates an idea.
There is little
awareness of other
viewers.
OBSERVE
I spent an extensive
amount of time observing
my subject matter, art
making processes and /or
the environment around
me that I may have
otherwise missed.
I spent no time
observing my subject
matter, art making
processes and/or the
environment around me.
STRETCH &
EXPLORE
I challenged myself to
explore a new idea or try
out a new media but I
still played it safe.
I experimented with a
new idea or media but
my finished work reflects
what I always do.
UNDERSTAND
THE ART
WORLD
I am very conscious of my
art making process and
my honest self-evaluations
reflect that.
I am aware of my art
making processes and my
self-evaluations reflect
that.
I am unaware of my art
making process and/or I
have no self-evaluations of
my work.
ENGAGE &
PERSIST
REFLECT
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ARTIST STATEMENTS:
Template and Flow Chart
My Artist Statement
s Artist Statement
The title of my artwork is
I created a
in my artwork.
DESCRIBE
YOUR
ARTWORK
CREATE
YOUR ART?
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My Artist Statement
s Artist Statement
The title of my artwork is
I created a
in my artwork.
Crayon
Pastel
Colored pencil
Ink/Marker
Watercolor
Tempera
Clay
Collage paper
Other:
Tracing
Carving
Printing
Shading
Outlining
Painting
Gluing/Attaching Cutting/Tearing
Other:
Line
Shape
Texture
Value
Space
Form
Excited
Calm
Proud
Awesome
OK
Other:
I am an artist because
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DESCRIBE
YOUR
ARTWORK
CREATE
YOUR ART?
WHAT IS THE
BIG IDEA BEHIND
YOUR ARTWORK?
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References
Anderson, Lorin W.; Krathwohl, David R., eds. (2001). A taxonomy for learning,
teaching, and assessing: A revision of Blooms taxonomy of educational objectives.
Allyn and Bacon
Hattie, J., and H. Timperley. The Power of Feedback. Review of Educational
Research 77.1 (2007): 81-112.
Pappas, Peter. The Reflective Student: A Taxonomy of Reflection Part 2. Copy /
Paste by Peter Pappas. 05 Jan. 2010. Web. 19 Aug. 2015.
Hetland, Lois. Studio Thinking 2: The Real Benefits of Visual Arts Education. New
York : Teachers College Press ; Reston, Virginia : NAEA, National Art Education
Association, 2013.
Marzano, Robert J. Designing & Teaching Learning Goals & Objectives. Bloomington,
IN: Marzano Research Laboratory, 2009.
National Coalition for Core Arts Standards (2014) National Core Arts Standards.
Rights Administered by the State Education Agency Directors of Arts Education.
Dover, DE, www.nationalcoreartsstandards.org
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