EVIDENCE OF STUDENT LEARNING

Evidence of Student Learning: Art I: Facial Proportions

Grades Ninth-Twelve
E. Casey Hereth
Towson University

Table of Contents

EVIDENCE OF STUDENT LEARNING

Part A: Learning Context, Topic, and Objectives

Part B: Assessment Plan
Part C: Instruction
Part D: Analysis and Instructional Decision-Making
Part E: Reflection and Self Evaluation

Pre-Assessments/Results: Page 11-15

Icon Hand-Out: Page 16-19
Correct Facial Proportion Diagrams: Page 20-23
Post-Assessment/Results: Page 24-28
Facial Feature Studies: Page 29-44
Student Growth Chart: Page 45
Pre/Post-Assessment Rubric: Page 46

Lesson 1 and Reflection: Appendix 1

Lesson 2 and Reflection: Appendix 2
Lesson 3 and Reflection: Appendix 3

PART A: LEARNING CONTEXT, TOPIC AND OBJECTIVES

Glenelg High school is located in rural/suburban Glenelg, Maryland.
Opened in 1958, Glenelg has been named on of the top 1300 schools in the
nation by Newsweek Magazine from 2006-present. Of the 1257 students

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currently enrolled, 83.5% are Caucasian, 5.4 are Asain, 4.7% are African
American, 3.2% are Hispanic, .1% are Native American and 3.1% identifying
as other. There are less than 5 students with limited English proficiency,
1.4% of students receiving free/reduced meals and 8.1% of students
receiving Special Education services. 100% of the students have met the
graduation requirements for the class of 2016, while the average SAT scores
for the 2015/2016 school year was 1650/2400.
This planning cycle is designed around an introductory Art I class. This
class consists of 33 homogeneously grouped students; 17 boys and 16 girls.
4 students have IEPs, while 2 students have 504 plans. There are several
students who struggle with consistent attendance due to transportation
issues. 23 freshman, 5 sophomores, 1 junior and and 2 seniors. The majority
of the students in this class actively participate in Demos/Lectures. Resident
IA will work with students whom require additional assistance.
In this first of three lessons, students will access prior knowledge to
successfully complete the pre assessment self-portrait and Icon Reference
Handout. In addition, students will participate in the following studio lecture.
By breaking down abstract constructs such as Icon References, students will
be able to view themselves in a more open and honest light, affording them
the clarity to create a more accurate self-portrait. This process is important
because is students cannot get past how they "think" they look than they will
never be able to grasp the bigger picture, such as an honest representation.
Students will achieve these through the following measurable objectives:

EVIDENCE OF STUDENT LEARNING

-Students will complete the Daily Drill (pre-assessment: self

portrait)
-Students will complete the Icon Handout.
-Students will actively participate in studio lecture.
-Students will produce studies of facial features from different
angles (homework)
In lesson two, students will discuss and successfully replicate a Correct
Facial Proportions (CFP) diagram in their sketchbooks. By doing this, students
are able to see how each of our faces are alike despite our vast differences,
making the concept of portraiture much more approachable. By producing
studies of facial features from observation, I will be able to gauge which
students have successfully employed the concepts and which ones need
more assistance. Students will strive to portray an accurate depiction of
them, through direct, reflective observation. Using a full range of value,
students will aim to achieve the illusion of realistic form. Pre-made CFP
diagrams will be distributed to students with the appropriate
accommodations. Students will achieve these through the following
measurable objectives:
-Students will complete the Daily Drill
-Students will participate in Demo on How to Draw Correct Facial
Proportions (CFP)
-Students will replicate CFP Demo in their Sketchbooks

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-Students will produce studies of facial features from different

angles (homework)
Finally, in lesson 3, students will employ their knowledge of iconic
reference and correct facial proportions to successfully create an accurate
self-portrait from reflected observation, complete with full range of value. In
this lesson students will work towards employing their understanding of
correct facial proportions. They will strive to portray an accurate depiction of
themselves through direct, reflective observation. Using a full range of value,
students will aim to achieve the illusion of realistic form. Pre-made CFP
diagrams will be distributed to students with the appropriate
accommodations to draw on top of as a guide. The creation of a self-portrait
using the Correct Facial Proportions will assess the degree of understanding
throughout the classroom. Resident IA will work with students whom require
additional assistance. Students will achieve these through the following
measurable objectives:
-Students will complete the Daily Drill
-Students will employ correct facial proportions to aid in the
creation of an accurate self portrait.
-Students will complete their portraits by applying full-value to
create the illusion of realistic lighting.
-Students will produce studies of facial features from different
angles (collect homework)

EVIDENCE OF STUDENT LEARNING

PART B: ASSESSMENT PLAN

The students will demonstrate proficiency throughout this unit in a
variety of ways. In the very first lesson, students will access their prior
knowledge to complete pre-assessment in the form of a self-portrait. In
addition, they will complete the Icon Handout and participate in the lecture:
By completing the Daily Drill (pre-assessment) I will be able to gauge the
different levels of proficiency within the class. By completing the Icon
Handout, I will be able to gauge the amount of studio time the class will need
to break away from these cultural references. By participating in the studio
lecture, I will be able to gauge how many students are comfortable talking
about the main concepts behind the Icon References. (See Appendix 1 for
pre-assessment/Icon Handout examples)
In the second lesson, students will be asked to access prior knowledge.
They will discuss and successfully replicate a Correct Facial Proportions (CFP)
diagram in their sketchbooks. By doing this, students are able to see how
each of our faces are alike despite our vast differences, making the concept
of portraiture much more approachable. By participating in the studio
lecture, I will be able to gauge which students are comfortable talking about
the main concepts behind the CFP. By replicating the CFP in their
sketchbooks I will be able to see how many students were paying attention
and how much of the lecture they were able to retain. By questioning
throughout the demo I'll be able to check in with students to determine a
level of understanding. (See Appendix 2 for CFP Diagram examples)

EVIDENCE OF STUDENT LEARNING

In the third, final lesson, students will employ their knowledge of iconic
reference and correct facial proportions to successfully create an accurate
self-portrait from reflected observation, complete with full range of value. By
completing the Daily Drill (draw a portrait of a table-mate) I will be able to
gauge the different levels of portrait proficiency within the class.
Observing which students accurately set up their proportions guide, prior to
beginning their portraits will inform me as to which students need additional
assistance. Requiring students to use full value in their portraits allows me to
observe the percentage of retention in each class and if we need to
review. By questioning throughout, I'll be able to check in with students to
determine a level of understanding. The creation of a self-portrait using the
Correct Facial Proportions will assess the degree of understanding throughout
the classroom in a summative manner. By producing studies of facial
features from observation, I will be able to gauge which students have
successfully employed the concepts and which ones need more
assistance. (See Appendix 3 for Final Portraits and studies of facial features.)

PART C: INSTRUCTION
All three of the lessons, which make up the Self-Portrait unit, are introduced
in a consistent fashion: When the students enter the classroom there is a
drill posted on the board, which ties into the lesson objectives. In addition to
the instructions being written on the board, I verbally go over the student

EVIDENCE OF STUDENT LEARNING

objectives and field any questions in student-friendly terms, to ensure that

they understand their expectations for achievement.
Through out this unit I have drawn on UDL principle to help ensure that
every learner is reached. The use of drawn communication promotes
understanding across languages (UDL 2.4). The facilitation of class
discussions/ critiques activates or supplies background knowledge (UDL 3.1).
The use of the guided Icon worksheet and Facial Proportions demo guides the
information processing, visualization and manipulation (UDL 3.3).
Encouraging gallery walks where students visit each other provides options
for physical action (UDL 4). By providing oral, written and visual options
provide variation for response and navigation (UDL 4.1). Access to
touchscreen iPads and drawing Apps provides access to tools and assistive
technologies (UDL 4.2). Use of the guided Facial Proportion templates plan
the creative process encourages appropriate goal setting (UDL6.1). Through
the use of the Facial Proportion planner students are supported in the areas
of planning and strategy development (UDL 6.2). Individual choice and
autonomy are optimized by providing students with the opportunity to
choose the angle they want to emulate (UDL 7.1). Gallery walks, where
students are encouraged to help one another foster collaboration and
community (UDL 8.3). Holding periodic critiques, which focus on constructive
problem solving, increase mastery oriented feedback (UDL 8.4). Requiring
students to re-write the process in their own words and write up a review
based on their outcomes develops self-assessment and reflection. (UDL 9.3).

EVIDENCE OF STUDENT LEARNING

The first lessons objective was to complete the daily drill (the preassessment), which was to take 20 minutes and create a self-portrait from
direct observation. During this time I am able to circulate the room, taking
note of which students proficient, and which ones would require additional
supports. If I noticed that the majority of students were failing to meet the
expectations, I would revise the objectives. After completing the Icon
Handout, I will be able to gauge the amount of studio time the class will need
to break away from these cultural references. Following the Icon Handout,
students will participate in a studio lecture, where I will be able to gauge how
many students are comfortable talking about the main concepts behind the
Icon References (see Appendix 1 for examples of Icon Hand-Out). At the end
of the lesson, I will review the concepts covered, asking clarifying questions
and previewing the expectations for the next lesson.
The second lessons objectives were to complete the daily drill
(complete a vase face) where students will have 10 minutes to create a vase
face by fabricating one half of a vase in the shape of a profile face and then
complete the other side by mirroring the other. This allows students the
opportunity to access their right brain and develop creative problem solving
skills. Students will then participate in a lecture, walking them through the
process of establishing Correct Facial Proportions (CFP). As I demo on the
board, students will follow along, creating their own diagram in their
sketchbooks. Periodically, I will take breaks, allowing students to catch up,
giving me the opportunity to circulate the room. By doing this, I am able to

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10

gauge the varying levels of understanding and clarify any confusion (see
Appendix 2 for examples of CFP diagrams). At the end of the lesson, I will
review the concepts covered, asking clarifying questions and previewing the
expectations for the next lesson.
Finally, the third lessons objectives were to complete the daily drill
(Draw a Table-Mate) where students are given 20 minutes to produce a
portrait of a classmate from direct observation. This exercise allows to
students to employ the knowledge they have gained over the past two
lessons concerning CFP. By drawing someone other than them-selves,
students are more likely to be honest, thus creating a more realistic portrait.
This formal assessment also allows me gauge which students are proficient
and which require additional supports. Students will then complete their
final, summative assessment: Employ correct facial proportions to aid in the
creation of an accurate self-portrait. Students will complete their portraits by
applying full-value to create the illusion of realistic lighting. (see Appendix 3
for examples of post-assessment self-portraits) At the end of the lesson, I
will review the concepts covered, asking clarifying questions.

PART D: ANALYSIS AND INSTRUCTIONAL DECISION-MAKING

Student achievement was assessed throughout the unit plan. Through
the pre-assessment, students had to access both prior knowledge and
employ observational skills. By completing the Icon Hand-Out and
participating the lecture students were able to break down the visual

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11

constructs of iconic reference, allowing them to draw what they see and not
what they know. Retention of this concept was then assessed through the
construction of a Correct Facial Proportions diagram, in student sketchbooks.
Students who struggled with this concept were supplied with access to a premade diagram to assist in the construction. Finally, students were assessed
through a two-prong portrait: One of a classmate and a final self-portrait
which both culminated the lessons from the unit while building off the
previous unit based on value and shading. In addition, students were tasked
with producing 4 pages of facial proportions from direct observation. Each
page was devoted to a different facial feature: Eyes, Ears, Mouth and Nose.
On each page, students had to render 10 different studies, for a total of 40
studies. This exercise was assigned to enhance the level of proficiency
throughout the class and address the needs of those students struggling with
major concepts and the application of
CFP.
The following pages are of the collected/analyzed data, from the
following categories:
-Pre-Assessments/Results
-Icon Hand-Out
-Correct Facial Proportion Diagrams
-Post-Assessment/Results
-Facial Feature Studies
-Student Growth Data

EVIDENCE OF STUDENT LEARNING

-Pre/Post-Assessment Rubric

Pre-Assessment:

12

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13

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14

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15

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Pre-Assessment Baseline Data Results:

Student
No. of Students in
Class
Class Totals
Class Average
Student1
student2
student3
student4
student5
student6
student7
student8
student9
student10
student11
student12
student13
student14
student15
student16
student17
student18
student19
student20
student21
student22
student23
student24
student25
student26
student27
student28
student29
student30
student31
student32
student 33

Icon Hand-Out:

Proportion

33
67.00
2.03
1.00
2.00
3.00
4.00
1.00
2.00
3.00
4.00
1.00
2.00
3.00
4.00
1.00
2.00
3.00
4.00
1.00
2.00
3.00
4.00
1.00
1.00
1.00
1.00
1.00
1.00
1.00
1.00
1.00
1.00
1.00
4.00
2.00

Likeness

33
86.00
2.61
2.00
2.00
3.00
4.00
1.00
4.00
3.00
4.00
1.00
2.00
3.00
4.00
1.00
2.00
3.00
1.00
1.00
2.00
2.00
2.00
2.00
3.00
3.00
4.00
1.00
3.00
3.00
4.00
1.00
4.00
4.00
4.00
3.00

Value

33
85.00
2.58
2.00
2.00
3.00
4.00
1.00
2.00
3.00
4.00
1.00
2.00
3.00
4.00
1.00
2.00
3.00
4.00
1.00
2.00
3.00
4.00
3.00
3.00
2.00
2.00
2.00
2.00
2.00
2.00
4.00
4.00
4.00
1.00
3.00

Craftsmans
hip
33
81.00
2.45
3.00
2.00
3.00
3.00
3.00
3.00
3.00
4.00
1.00
2.00
3.00
4.00
1.00
2.00
2.00
2.00
2.00
2.00
3.00
4.00
3.00
3.00
3.00
4.00
1.00
1.00
1.00
1.00
1.00
2.00
3.00
4.00
2.00

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19

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20

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21

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Post-Assessment:

26

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Post-Assessment Endpoint Data Results:

Student
No. of Students in
Class
Class Totals
Class Average
Student1
student2
student3
student4
student5
student6
student7
student8
student9
student10
student11
student12
student13
student14
student15
student16
student17
student18
student19
student20
student21
student22
student23
student24
student25
student26
student27
student28
student29
student30
student31
student32
student 33

Proportion
s
33
101.00
3.06
4.00
4.00
4.00
4.00
4.00
4.00
3.00
4.00
4.00
4.00
4.00
4.00
1.00
2.00
3.00
3.00
3.00
3.00
3.00
3.00
2.00
1.00
1.00
4.00
4.00
4.00
1.00
4.00
1.00
2.00
2.00
4.00
3.00

Facial Feature Studies - Student 1:

Likeness

33
113.00
3.42
2.00
2.00
3.00
4.00
2.00
4.00
3.00
4.00
1.00
4.00
4.00
4.00
4.00
2.00
4.00
4.00
4.00
4.00
4.00
2.00
2.00
4.00
4.00
4.00
4.00
4.00
4.00
4.00
2.00
4.00
4.00
4.00
4.00

Value

33
103.00
3.12
2.00
2.00
3.00
4.00
1.00
2.00
3.00
4.00
1.00
2.00
3.00
4.00
2.00
2.00
3.00
4.00
4.00
4.00
4.00
4.00
4.00
4.00
4.00
4.00
4.00
4.00
2.00
3.00
3.00
3.00
4.00
3.00
3.00

Craftsmans
hip
33
118.00
3.58
3.00
2.00
4.00
4.00
4.00
4.00
4.00
4.00
4.00
4.00
4.00
4.00
4.00
4.00
4.00
4.00
4.00
4.00
4.00
4.00
3.00
3.00
3.00
4.00
3.00
3.00
3.00
3.00
3.00
3.00
3.00
4.00
3.00

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Student 2:

35

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Student 3:

39

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40

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Student 4:

43

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Student Growth Data:

Criteria

Baseline Data

Endpoint Data

Overall Class
Growth
Percentage

2.03

3.06

51%

2.61

3.42

31%

2.58

3.12

21%

2.45

3.58

46%

Proportions
Likeness
Value
Craftsmanship

Comparison of Average Student Growth Data

3.58
2.45

3.12
2.58

3.42
2.61

3.06
2.03
0

Baseline Data

Endpoint Data

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Excellent (A)

Good (B)

Fair (C)

The facial
proportions are
accurate
Composition
was thoroughly
planned out
The portrait
does not
resemble the
subject
The artist used
appropriate
line quality

The facial
proportions are
less than
accurate
Composition
was
considered
The portrait
resembles the
subject
The artists
used of line
quality is
above average

The facial
proportions are
not accurate at
all
Composition
was somewhat
considered
The portrait
somewhat
resembles the
subject
The artist used
less than
appropriate
line quality

The artist
made accurate
transitions
from one value
to the next
The textures
are easily
recognizable

The artist
made
transitions
from one value
to the next
The textures
are
recognizable

The final has

no smudges or
unnecessary
marks
The final is not
wrinkled or
creased
The artist
worked to the
best of their
ability
The artist
exceptionally
used their time

The final has

no smudges or
unnecessary
marks
The final is not
wrinkled or
creased
The artist
worked to their
ability
The artist used
their time
wisely

The artist
somewhat
made
transitions from
one value to
the next
The textures
are somewhat
recognizable
The final has a
smudge or
unnecessary
mark
The final has 1
wrinkle or
crease
The artist
somewhat
worked to their
ability
The artist
somewhat
used their time
wisely

Proportions

_____/25

Likeness

_____/25

Value
_____/25

Craftsmanship
_____/25

48

Total ______/100

Pre/Post-Assessment Rubric

Comments:

Poor (F)

The portrait is
falling apart
Composition
was not
considered

The portrait
does not
resemble the
subject
The artist used
inappropriate
line quality

The artist did

not make
transitions from
one texture to
the next
The textures
are not
recognizable

The final has

smudges or
unnecessary
marks
The final is
wrinkled or
creased
The artist did
not work to the
best of their
ability
The artist did
not use their
time wisely

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49

Self-Portrait
Grading Rubric
Part E
After analyzing the collected data from Part D and reviewing the student
growth chart, it is evident that students gained a higher level of
understanding as well as application of skills. All students demonstrated
improvement in the categories of Proportion, Likeness, Value and
Craftsmanship.
Student learning was positively influenced through instruction by
addressing the cultural, linguistic and leaning differences of the students.
Making the students themselves the subject of the work, as a class, we were
able to celebrate in the diversity of each other, rather than hide behind the
art or likeness of another. It forced the students to really look at themselves
and each other; making connections they might otherwise have never had
the opportunity to observe. The most amazing part about art is that there
are no linguistic barriers. Art transcends language, breaking down the walls
and speaking only on a human level. Across
Although students demonstrated growth across the board, there are
two changes I would make to future instructional activities. In the very first
lesson, students were only given 10 minutes to complete their preassessment Self-Portrait. In hindsight, this was not enough time for the
majority of students. As a result they become overly stressed, werent able
to focus and this factor may possibly have distorted my perception of the

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level of understanding, making it difficult to gauge student proficiency. In

addition, the other thing I would like to add more than change, is a lesson on
how to use a grid to help assist students in accurately scaling proportions. I
used this as an intervention for some students who were struggling. By the
end of the unit, it was very clear that the majority of students would have
greatly benefitted from its use.
Collaborating with other school-based professionals can always enrich
lessons. However, In the case of fine arts I have always found this to be a
challenge. By working with other teachers to develop collaborative lesson, I
would be able to get a better understanding of how much time other
teachers give for daily activities. This knowledge would assist me in
providing more appropriate timed activities, ensuring that students are able
to complete the tasks in a confident manner. Another collaboration that
would assist in improving future student activities would be working with my
history teachers. Planning collaborative lessons with history teachers would
be extremely beneficial, especially for portraiture and using grids. By
collaborating, the history teacher and I could cover the same concepts
behind the main ideas of portraiture, enriching the learning experience of all
our students.
Based on the CEC standards, my professional learning goals have
transformed and developed from my reflections and experiences on my ESL
project. One learning goal that has developed through my reflections and
experiences is CEC standard 3, Instructional Planning and Strategies. My

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51

current educational position as a Paraeducator contained little instructional

planning. The switch from that role to intern teacher opened my eyes to how
important and vital planning can be for a teacher. I was also not introduced
to planning strategies and having this semester to intern with a Special
Education teacher has allowed me to get a taste of planning across three
grade levels and find to best strategy that pools my resources and learning
style together.
Another learning goal that has developed through my reflections and
experiences is a combination of CEC standard 3, curricular content
knowledge, and CEC standard 7, collaboration. These two standards merge
together for me because in a Special Education setting, you cant have one
without the other. Knowing the curriculum through collaboration with grade
level teachers is important to assist, modify, and accommodate students
within the classroom to have them access the grade level curriculum and
expose them to grade level sources. Having a set planning time to
collaborate and learn the curriculum content is a key feature for my future
professional goals.
From my reflection and experience with this lesson, there are two
personal professional learning goals that have emerged, based on the CEC
standards. The first goal falls under CEC standard 7: Collaboration. My
subject area is very isolated from the world of academics and I would like to
improve my curricular relations with other areas. The potential for
collaborations with other school-based professionals is there for the taking

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and the enriching effects for students are virtually limitless. The second
professional learning goal of mine directly aligns with CEC standard 3:
Curricular Content Knowledge. This is my 1oth year teaching and the 8th year
teaching this unit of self-portraiture. While students always seem to enjoy
this unit, I would like to take some classes in portraiture to assist me in
revamping my entire approach. I want my students to be excited about what
were learning, and that all stems from my attitude. If its not fresh and were
not excited about it, how can we expect our students to care? I plan on
enrolling in portrait classes over this summer and bring back a new
perspective for my students next year!

APPENDIX 1:

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53

LESSON REFLECTION FORM

**You must complete & submit this form post-observation to your MT or US
within 3 days of teaching your lesson!
Student Intern: E. Casey Hereth
Mentor Teacher: Andrew Shearer
Date: /03/16
Time:
School: Glenelg High School
Grade: 9-12
Content Area: Fine Arts
University Supervisor:
Dr. Kandace
Hoppin
Title of Lesson Plan (in UDL Exchange): ESL Art I: Facial Proportions Day 1
TEACHING REFLECTION: Reflect on your teaching & changes that could
improve student results.
Analyze the results of your formative and summative assessments from
the lesson, and reflect on the overall lesson:
1 Document the learning that occurred at individual and group levels
In this lesson students will successfully complete the Icon Reference
Handout and participate in the following studio lecture. This class
consists of 33 homogeneously grouped students; 17 boys and 16 girls.
4 students have IEPs, while 2 students have 504 plans. There are

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54

several students who struggle with consistent attendance due to

transportation issues. 23 freshman, 5 sophomores, 1 junior and 2
seniors. The majority of the students in this class actively participate in
Demos/Lectures. Resident IA will work with students whom require
additional assistance. By breaking down abstract constructs such as
Icon References, students will be able to view themselves in a more
open and honest light, affording them the clarity to create a more
accurate self-portrait. This process is important because is students
cannot get past how they "think" they look than they will never be able
to grasp the bigger picture, such as an honest representation.
2 Document results from each subgroup
a e.g. IEP, 504, ESOL, other testing subgroups
IEP/504 students all took the same pre/post-assessment.
3 Explain results for students who learned more or less than expected
Students learned what was expected. When dealing with subject
matter such as self-portraiture, the majority of students are starting at
the base level, leaving lots of room for improvement. Looking at the
analyzed data, it is evident that all student reached the expected level
of learning.
4 Describe how future lessons could be improved:
a If you were to teach this lesson again, what would you continue
to do?
In the future I will continue to do the gallery walks, allowing
students the time to see peer works.
b If you were to teach this lesson again, what would you do
differently to improve the results?
I wish I had given the students more time to complete their preassessment portraits.
c List at least one goal for improving your future lessons.
Next time I teach this lesson I will review more at the closing.
APPENDIX 2

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55

LESSON REFLECTION FORM

**You must complete & submit this form post-observation to your MT or US
within 3 days of teaching your lesson!
Student Intern: E. Casey Hereth
Mentor Teacher: Andrew Shearer
Date: 03/03/16
Time:
- School: Glenelg High School
Grade: 9-12
Content Area: Fine Arts
University Supervisor:
Dr. Kandace
Hoppin
Title of Lesson Plan (in UDL Exchange): ESL Art I: Facial Proportions Day 2
TEACHING REFLECTION: Reflect on your teaching & changes that could
improve student results.
Analyze the results of your formative and summative assessments from
the lesson, and reflect on the overall lesson:
5 Document the learning that occurred at individual and group levels
In this lesson students will discuss and successfully replicate a Correct

EVIDENCE OF STUDENT LEARNING

1.

2.
3.

4.

56

Facial Proportions (CFP) diagram in their sketchbooks. By doing this,

students are able to see how each of our faces are alike despite our
vast differences, making the concept of portraiture much more
approachable. This class consists of 33 homogeneously grouped
students; 17 boys and 16 girls. 4 students have IEPs, while 2 students
have 504 plans. There are several students who struggle with
consistent attendance due to transportation issues. 23 freshman, 5
sophomores, 1 junior and 2 seniors. The majority of the students in this
class actively participate in Demos/Lectures. Pre-made CFP diagrams
will be distributed to students with the appropriate accommodations.
Resident IA will work with students whom require additional assistance.
Document results from each subgroup
a. e.g. IEP, 504, ESOL, other testing subgroups
IEP/504 student completed the Daily Drill and created their own CFP
diagram with the aid of a pre-made visual.
Explain results for students who learned more or less than expected
I was able ensure student learning by circulating the room and building
in time for clarifying questions. Students learned what was expected.
When dealing with subject matter such as self-portraiture, the majority
of students are starting at the base level, leaving lots of room for
improvement. Looking at the analyzed data, it is evident that all
students reached the expected level of learning.
Describe how future lessons could be improved:
a. If you were to teach this lesson again, what would you continue
to do?
I would
b. If you were to teach this lesson again, what would you do
differently to improve the results?
If I could do one thing differently, I would have spent more time
breaking down the facial features during my demo, everyone
could potentially benefit from that.
c. List at least one goal for improving your future lessons.
In the future, I would like to add a lesson about the use of Grids
and how they can aid in the creation of portraiture.

APPENDIX 3

EVIDENCE OF STUDENT LEARNING

57

LESSON REFLECTION FORM

**You must complete & submit this form post-observation to your MT or US
within 3 days of teaching your lesson!
Student Intern: E. Casey Hereth
Mentor Teacher: Andrew Shearer
Date: 03/04/16
Time:
- School: Glenelg High School
Grade: 9-12
Content Area: Fine Arts
University Supervisor:
Dr. Kandace
Hoppin
Title of Lesson Plan (in UDL Exchange): ESL Art I: Facial Proportions Day 3
TEACHING REFLECTION: Reflect on your teaching & changes that could
improve student results.

EVIDENCE OF STUDENT LEARNING

58

Analyze the results of your formative and summative assessments from

the lesson, and reflect on the overall lesson:
5. Document the learning that occurred at individual and group levels
In this lesson students will employ their knowledge of iconic reference
and correct facial proportions to successfully create an accurate selfportrait from reflected observation, complete with full range of value.
This class consists of 33 homogeneously grouped students; 17 boys
and 16 girls. 4 students have IEPs, while 2 students have 504 plans.
There are several students who struggle with consistent attendance
due to transportation issues. 23 freshman, 5 sophomores, 1 junior and
2 seniors. The majority of the students in this class actively participate
in Demos/Lectures. Pre-made CFP diagrams will be distributed to
students with the appropriate accommodations to draw on.
1. Document results from each subgroup
a. e.g. IEP, 504, ESOL, other testing subgroups
IEP/504 students completed the Daily Drill and created their own
self-portrait from observation using a pre-made CFP diagram.
2. Explain results for students who learned more or less than expected
3. I was able ensure student learning by circulating the room and building
in time for clarifying questions. Students learned what was expected.
When dealing with subject matter such as self-portraiture, the majority
of students are starting at the base level, leaving lots of room for
improvement. Looking at the analyzed data, it is evident that all
students reached the expected level of learning.
4. Describe how future lessons could be improved:
a. If you were to teach this lesson again, what would you continue
to do?
I will continue allowing students extra time to complete their
portraits. Its very important that they complete this work and
dont leave it looming.
b. If you were to teach this lesson again, what would you do
differently to improve the results?
I need to work on review and closure of this lesson. I plan to
extent this lesson by 2 days next year to include grids and extra
time for completion.
c. List at least one goal for improving your future lessons.
One thing I plan on doing to improve future lessons is to gather
student feedback based on their experience, analyze the data
and make changes accordingly.

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60