EDUC 3604 – Evaluation of Student Learning Griffioen/Spring 2023

Performance Task, Rubric, and Formative Assessment Task Design

Lyonesse King, Eric Heitmann
Subject and grade: Art 9

GLE:
DRAWING: is a visual search for meaning. Using a variety of materials and techniques, drawing
is an individual expressive response to some specific experience. Such experiences may come
from the individual or the group or may result from a problem to be solved or from direct inquiry.

SLE(s):
RECORD: Students will record objects alone and in compositions.
COMMUNICATE: Use expressiveness in their use of elements in the making of images.

TASK RATIONAL

Our performance task is designed for the culmination of a unit plan based on Pop Art,
the graphic characteristics of comic book art, and the strategies developed by Andy Warhol and
Roy Lichtenstein in their reproduction of mechanical printing techniques from their time in large
format paintings. The main goal is the creation of an acrylic painting that uses the strategies
employed by Roy Lichtenstein in his artwork (as discerned in class) to convey a specific emotion
of the student’s choice.
There are four key components students need to include to complete their work: (1)
simulated ‘Ben-Day dots’ in the style of Lichtenstein; (2) clean lines to simulate a graphic style
from comic books; (3) choose imagery that expresses the emotion they chose; and (4) choose
colours that further support the expression of their chosen emotion. The task will take three
classes to complete.
To increase construct validity, a clear rubric connected to the SLEs being evaluated is
provided to students in print and online, along with a noticeable mention of these same
expectations in the presentation page of the performance task description. As for content
validity, the key components play equal parts in sampling the expectations being assessed,
resulting in a balanced sampling of both SLEs; a teacher check (assessment for learning) of the
students’ drafted compositions is included to ensure all key components are being considered
and increase content validity.
 To decrease systematic error, students will have practiced all four key components in
class before attempting the performance task and will be familiar with the art vocabulary
required for the task. Students will demonstrate their learning by applying their knowledge to
novel imagery of their choice. Additionally, extra time will be provided to complete the task at
home, ensuring students can complete their work. The possibility of outside help opens up,
compromising the assessment of students’ painting skills, but this is not the main modality that
demonstrates the students’ progress, the compositions are and are completed in class before
having the chance to take work home.
A formative assessment is included with the provided checklist to be held at the
beginning of the third and final class assigned to the completion of the performance task: a
critique structured as a ‘gallery walk’ (assessment as learning). This critique will give students
the opportunity to discover new possibilities of how the graphic strategies they are using can be
developed in their own creation, as well as a pause to look at their work and determine if
revisions are necessary and how to proceed toward completion.
The students will engage in various modalities to complete the project: drafting and
planning in their sketchbooks, repurposing or creating templates and stencils as a way to plan
their process, adapting their vision when using paint, comparing and contrasting the works of
their peers in a ‘gallery walk,’ and making revisions of their work based on feedback from their
peers and their own critical observations of their artwork.
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Comic Book Painting

You will create an acrylic painting that communicates a clear emotion using some
or all of Roy Lichtenstein’s graphic and narrative techniques discussed in
class—dramatic scene, graphic representation of human figure/portrait, speech bubble,
Ben-Day dots, simplified shapes of objects/architecture, overlapping objects, forced perspective.

Your painting will be done on paper. The size can be anywhere between 8.5”x11” to
20”x26”. (The teacher might have suggestions as to what size you should use.) You can use any
templates or stencils you wish to use for your painting.

The subject matter of your painting is up to YOU! You can choose any imagery you
wish (as long as it is school appropriate) to convey an emotion that is also of your choice
(again, school appropriate).

ASSIGNMENT REQUIREMENTS/WHAT WE ARE LOOKING FOR

- Clear expression of an emotion of your choice in your painting through your selection of
imagery and composition.
- Comic book-like style:
- It can be a direct copy of the comic book style Lichtenstein used, a different comic
book style, or a personal graphic style that would be appropriate for the printing
techniques Lichtenstein imitated.
- Ben-day dots that are uniform in size and uniformly distributed in a “honeycomb”
pattern.
- Lines with clean edges and even width.
- A carefully selected colour palette that helps express the emotion you chose for your
painting.

CHECKLIST

On page number 4 you will find a checklist with all the components you need to complete
this assignment. Mark your progress on your checklist as you work on your painting. Page 4
also has space assigned for a critique activity that will be held on CLASS 3.

(continued on page 2)
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PROCEDURE

You will complete a fully finished painting following the steps practiced in class over the
course of 3 classes. Mark your progress on your checklist as you go.

CLASS 1:
Planning:
- Choose the emotion you will express with your artwork—for example, sadness, grief,
happiness, anger, frustration, love, anxiety, etc.
- Choose the kind of imagery you wish to work with—for example, you can choose a
dynamic or quiet scene from a movie or book, pick an exciting moment from a sports
match, or even compose a still-life that tells a story. You can use the internet or print
materials made available in class to source photos as inspiration for your design.
- Draft your composition ideas in your sketchbook and consider the colour palette you
might use.
- Once you have created a composition you like (don’t overthink it!), show your work to the
teacher. You need to get this check done before you move on.

Preparation:
- Discuss with the teacher the size of paper you wish to use, and write your name in the
back.
- Then, gesso your paper following the procedure you learnt in class. Ask for help with this
step if you need it!
- Place your gessoed paper in the assigned spot for it to dry.
- Pick the templates/stencils you will use to make your painting. You can make new ones
either in class or at home.
- You will start painting next class.

CLASS 2
Creation:
- Collect your painting materials. Pay careful attention to the colours you choose.
- Work on your painting using the processes you have learnt in class!
- PRO TIP: don’t worry about making your work look exactly like your draft. As with most
art projects, your idea is likely to change while you work on your painting. Aim to make a
great painting instead of strictly copying your plan! Even though the teacher checked
your plan they are not expecting it to look like your plan!

(continued on page 3)
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CLASS 3
Critique/analysis as a part of revision:
- The critique is for you to get feedback from your peers to see what is working and if
anything isn’t.
- You and your peers will do a “gallery walk” by looking at every work of your
classmates’ and leaving feedback written on sticky notes next to each of their paintings.
Write 1 thing they are doing well, and 1 thing to think about.
Example: Your Ben-Day dots look really good, making the comic book style in your
painting really come through. You may want to think about using a subtle colour in the
background to make the main figure stand out, making the emotion you want to
express clearer.
- By the end of the critique, go through the feedback given to you by your peers, and
assess your artwork's strengths and areas of improvement by considering your peers’
feedback.
- Write a brief critique of your artwork in its pre-completion stage describing its
strengths and what you can improve to express emotion more clearly. The report
should include the emotion you are expressing in your work. It should be at least 4
sentences long. It can be written either in prose or bullet-point form. Use the space
provided in your checklist to write your report.

Continue working on your painting until it is finished. Then go over your checklist to make
sure you have hit all the marks.

IMPORTANT:
AIM TO FINISH YOUR WORK BY THE END OF CLASS 3. If you do, go
over your checklist, make sure you have completed everything on it, and
hand in your painting and checklist. IF YOU NEED MORE TIME TO
FINISH, YOU CAN TAKE YOUR WORK HOME WITH YOU AND HAND
IT IN BY NEXT CLASS (including your checklist).
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CHECKLIST

STUDENT NAME:_______________________

Everything you need to check to successfully complete this work!

Draft of composition and colour palette plan in your sketchbook

The teacher approved your plan
Your paper has your name written on the back
Your paper is gessoed and drying
Templates/stencils are ready for use
Grab your materials and paint!
Ben-Day dots are evenly distributed
Line work is clean
Critique:
You gave feedback to all your peers
You read all the feedback your peers gave you
Written critique of your work-in-progress
The emotion you chose
Strengths of your artwork at time of critique
Areas of improvement at time of critique
Hand it in!

CRITIQUE OF YOUR ARTWORK IN ITS PRE-COMPLETION STAGE

Emotion you are aiming to express:_________________________________

Strengths and areas of improvement:________________________________

________________________________________________________________

________________________________________________________________

________________________________________________________________

________________________________________________________________

________________________________________________________________

________________________________________________________________
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Rubric

Category 4 3 2 1 0

Imagery Selection and The imagery selected The imagery selected The imagery selected The imagery selected Not handed
Personal Expression by the student is by the student is by the student is by the student is in/incomplete
engaging and/or interesting in how it straightforward in how it ineffective in how it
intriguing in how it expresses the chosen expresses the chosen expresses the chosen
expresses the chosen emotion. emotion. emotion.
emotion. The student’s work The student’s work The student’s work
The student’s work effectively reasonably vaguely communicates
vividly communicates communicates the communicates the the chosen emotion for
the chosen emotion for chosen emotion for the chosen emotion for the the piece.
the piece. piece. piece.

Technical Ability Demonstrates skilful Demonstrates effective Demonstrates sufficient Demonstrates Not handed
and purposeful technical ability by technical ability by using insufficient technical in/Incomplete
technical ability by using making their Ben-day Ben-Day dots, and ability through an
Ben-Day dots uniformly, dots mostly uniform, somewhat-messy lines uneven use of Ben-day
and clean lines of even and keeping their lines that partially support the dots and messy lines
width that enhance a mostly clean and even composition. which interfere with the
well-thought-out in width, supporting a composition.
composition. thought-out
composition.

Colour Use The student’s use of The student’s use of The student’s use of The student’s use of Not handed
colour is well thought colour is thought out, colour partially supports colour interferes with in/incomplete
out, enhancing a supporting the design the design and its the design and its
well-put-together design and its expression of expression of emotion. expression of emotion.
and its expression of emotion.
emotion.