EDUCATOR GUIDE

Subject: Sanjay Patel

Discipline: Visual Art & Animation

SECTION I - OVERVIEW ......................................................................................................................2

EPISODE THEME
SUBJECT
CURRICULUM CONNECTIONS
OBJECTIVE
STORY SYNOPSIS
INSTRUCTIONAL STRATEGIES
INSTRUCTIONAL OBJECTIVES
EQUIPMENT NEEDED
MATERIALS NEEDED
INTELLIGENCES ADDRESSED
SECTION II CONTENT/CONTEXT ..................................................................................................3
CONTENT OVERVIEW
THE BIG PICTURE
RESOURCES TEXTS
RESOURCES WEB SITES
VIDEO RESOURCES
BAY AREA FIELD TRIPS
SECTION III VOCABULARY.............................................................................................................6
SECTION IV ENGAGING WITH SPARK .........................................................................................7

StillimagefromSPARKstory,2010.

SPARK Educator Guide Sanjay Patel 1


SUBJECT
SanjayPatel
GRADE RANGES
K12&Postsecondary
CURRICULUM CONNECTIONS
VisualArts&LanguageArts
OBJECTIVE
Understandthedevelopmentofpersonalworksof
artandtheirrelationshiptobroadersocialthemes
andideas,abstractconcepts,andthehistoryofart.
Developbasicobservationaldrawingand/or
paintingskills.
Developvisual,written,listeningandspeaking
skillsthroughlookingat,creatingandtalkingabout
visualartworks.
Developanexpressivevisualvocabularywith
whichtoaddresspersonaland/orsocialthemesand
ideas.
Developobservationalandrepresentationalskills
bylookingatandreproducingimagesofpeople,
placesandthingsaccuratelyandthoughtfully.
STORY SYNOPSIS
SanjayPatelisasupervisinganimatorandstoryboard
artistatPixar,whoseworkincludesThe
Incredibles,RatatouilleandToyStory3.Healsohas
createdaseriesworksthatdrawonhisIndian
background,illustratingadaptationsofancientHindu
epics.Thisweek,SparkcatchesupwithPatelonthe
occasionoftheOaklandMuseumofCalifornias
exhibit,Pixar:25YearsofAnimation.
INSTRUCTIONAL STRATEGIES
Grouporaldiscussion,reviewandanalysis,
includingpeerreviewandaestheticvaluingasa
group
SPARK Educator Guide Sanjay Patel
SECTION I - OVERVIEW
Teacherguidedinstruction,includingdemonstration
andguidance
Handsonindividualprojectsinwhichstudents
workindependently
Handsongroupprojectsinwhichstudentsassist
andsupportoneanother
Criticalreflectiononpersonalexpressionsandhow
theyareseenandreceivedbyothers
INSTRUCTIONAL OBJECTIVES
Tointroducestudentstotheanimationandfine
artworkofSanjayPatel
Toprovidecontextfortheunderstandingofthe
historyofanimation
Toinspirestudentstodeveloptheirownartand
animationprojectsandtobecriticalviewersofmedia
EQUIPMENT NEEDED
SparkstoryaboutSanjayPatelonVHSorDVD,ora
computerwithInternetaccess,streamingcapability,
navigationsoftware,videoprojector,andspeakers.
MATERIALS NEEDED
Accesstolibrarieswithuptodatecollectionsof
periodicals,books,andresearchpapers
Pencils,pens,andpaper
Computerwithinternetaccess
INTELLIGENCES ADDRESSED
Interpersonalawarenessofothersfeelings,
emotions,goals,motivations
Intrapersonalawarenessofonesownfeelings,
emotions,goals,motivations
Spatialabilitytomanipulateandcreatemental
imagesinordertosolveproblems
Seemoreinformationon
MultipleIntelligencesat
www.kqed.org/spark/education.
2

CONTENT OVERVIEW
Pixar,theBayAreasOscarAwardwinning
animationstudio,isresponsibleforsuchmodern
classicsasABugsLife,Monsters,Inc.,andUp.S
SanjayPatelisasupervisinganimatorandstoryboard
artistatPixarandhasworkedonsuchfilmsasThe
Incredibles,Ratatouille,andToyStory3.Healsohas
createdaseriesofworksthatdrawuponhisIndian
heritage,illustratingadaptationsofancientHindu
epics.SparkcatchesupwithPatelontheoccasionof
theOaklandMuseumofCaliforniaexhibitPixar:25
YearsofAnimation.
PatelwasastudentatCalArtssrenownedanimation
program,foundedbyWaltDisneytotrainhis
animators,whenhewasrecruitedbyPixar,notlong
afterToyStorys1995release.Patelwasamazedby
howPixarsfilmswereabletotellcompelling,
emotionallyengagingstoriesthroughtheuseof
computeranimationandsoonbeganworkingwith
them.
Pixarencouragesitsartiststogrowcreatively,
offeringclassesindrawing,painting,andsculpture,
andtopursueprojectsoutsidework.Since2006,Patel
hasbeenillustratingretellingsofancientHindu
mythology.UnderthebrandnameGheeHappy
(namedfortheclarifiedbuttercommonlyusedin
Indiancooking),Patelhascreatedalineofbooks,
apparel,andotherproductsthatcelebrateIndian
traditionsthroughhisdistinctlyfunandmodern
designsensibility.
GheeHappyfindsitsrootsinPatelsupbringing.
GrowingupinSanBernardino,California,ina
Gujaratifamily,Patelfoundhimselfsurroundedby
twosetsofcompellingiconography:theHindugods
andscenesthatpopulatedhisfamilyhomeandthe
WarnerBros.andDisneycartoonsthathewatched
obsessivelyontelevision.Patelabsorbedeverything
hecouldfromtheseprogramsandstartedtodrawhis
owncomics,oftenspendinghoursatatimeworking
SPARK Educator Guide Sanjay Patel
SECTION II CONTENT/CONTEXT
onthem.Patelrecountsthatashebegantosee
himselfasanartist,hefeltinsomewaysa
disconnectionfromboththebroaderSouthern
CaliforniacultureandtheIndiancommunityin
whichhelived.HisworkwithGheeHappy
reconcilesthesetwoiconographiesthatwereso
influentialtohisdevelopment,creatingauniqueand
freshexpressionofhisexperience.
SparkchecksinwithPatelashedevelopshislatest
book,abouttheHindudeityGaneshaandGaneshas
legendaryloveofsweets.Whencreatingthese
projectsforGheeHappy,Pateloftenfindshimself
drawingontheskillsheacquiredwhileworkingat
Pixar.Importantstorypointsarereducedtosingle
panelsinthebookformat,sohetakesinto
considerationanimationconcernslikeacting,
narrativearc,andtheimportanceofillustrating
momentsthatrevealcharacterandtransformations.
THE BIG PICTURE
Animationhasbeenacrucialelementincinemasince
itsadventinthemid1880s.Anyfilmisstructurally
ananimationof24framespersecond,creatingthe
illusionofmovement.Stopmotion,andsoonafter,
handdrawnanimation,wasfeaturedinsomeofthe
earliestfilmexperiments.
Stopmotionanimationisatechniquethatmakesa
staticobjectappeartomoveonitsown.Theaffectis
accomplishedbytakingasingleframeofastatic
object,thenphysicallymovingtheobjectslightlyand
takinganotherframe,untilenoughframeshavebeen
shottomaketheobjectappeartomovebyitsown
accord.Oneoftheearliestknownstopmotion
animationswasan1899Englishadvertisementmade
byArthurMelbourneCooperfortheBryantandMay
MatchsticksCompany.
J.StuartBlacktoniscommonlyconsideredthefirst
trueanimator,apioneerinbothstopmotionand
handdrawntechniques.Introducedtofilmmakingat
3
theturnofthecenturybyThomasEdison,Blackton
madeaseriesofanimatedshorts,theearliestof
whichdatebackto1900.Someofhisearlyworks
includeTheEnchantedDrawing(1900)andHumorous
PhasesofFunnyFaces(1906),inwhichBlacktoncanbe
seencreatingadrawingthatthenmagicallycomesto
life.
Thenarrativedeviceofincludingtheartistdrawing
intheanimationitselfbecameatropeinearlyhand
drawnanimation,pickedupbymanyanimatorsthat
followedBlackton.AFrenchartistnamedmile
Cohl,whobeganhiscareerasacartoonartist,
featuredhimselfdrawingatthebeginningofhis
short,Fantasmagorie,of1908.AswithBlacktons
work,thewondrouseffectofanimationis
emphasizedasthestaticdrawingthattheartist
makesappearstomoveonitsown.
Perhapsthemostinfluentialearlyanimatorwas
newspapercartoonistWindsorMcCay,whoseLittle
NemoinSlumberland(1911)continuestobereferenced
bycurrentanimators.Arecentexampleofthiscanbe
foundinanacclaimedepisodeofTheSimpsons,
whereinanoverworkedHomerfallsasleepatthe
wheelandentersNemosdreamworld.McCays
charmingGertietheDinosaur(1914)featuredMcCay
directinghisprehistoriccreation,whosedisobedience
emphasizesGertiesseeminglyindependentwill.
AdvertisementforWindsorMcCaysGertietheDinosaur,c.
1914.
http://www.enchantedlearning.com/ggifs/Gertie.GIF
SPARK Educator Guide Sanjay Patel
Anothersignificantpioneerofmodernanimationis
MaryBlair,whobeganworkingforWaltDisneyin
1940.WhileDisneyhadlongbeenaninnovatorin
animation,inventingnewtechniquestoheightenthe
realismofthecharactersonscreen,Blairbroughtan
aesthetictoDisneyfilmsthatwasatoncewildly
imaginativeandfiercelycontemporary.Early
productionsBlairworkedonincludeDumbo,TheLady
andtheTramp,andasecondversionofFantasiathat
wasonlyreleasedinthe1990s.
DuringanextendedvisittoSouthAmericain1941,
Blairworkedonconceptartforaseriesofanimated
features,includingSaludosAmigosandTheThree
Caballeros.AfterreturningtotheUnitedStatesshe
wenttoworkonsuchclassicsasCinderella,Alicein
Wonderland,andPeterPan.Soonafter,Blairleft
Disneytobecomeafreelancedesigner,creating
advertisementcampaigns,illustratingseveral
childrensbooks,anddesigningsetsforRadioCity
MusicHall.WorkingagainforDisneyintheearly
1960s,BlairdesignedtheItsaSmallWorld
attractionoriginallycreatedforthe1964WorldsFair.
Theattractionwastobecomeperhapshermost
famouslegacy,recreatedatDisneythemeparksin
Anaheim,Orlando,Tokyo,Paris,andHongKong.
IllustrationbyMaryBlair
http://www.animationarchive.org/
4
RESOURCES TEXTS Wikipediaarticleonthehistoryofanimation:
http://en.wikipedia.org/wiki/History_of_animation
Amidi,Amid.TheArtofPixarShortFilms.Chroicle
Books,2009. Teachersguidetousinganimationintheclassroom:
http://www.fi.edu/fellows/fellow5/may99/index.html
Beckerman,Howard.Animation:TheWholeStory.
AllworthPress,2003.
VIDEO RESOURCES
Bendazzi,Giannalberto.Cartoons:OneHundredYears
ofCinemaAnimation.UniversityofIndianaPress, TheEnchantedDrawing:
1995.
http://www.youtube.com/watch?v=rYDmH2B9XJw

Doniger,Wendy(trans.)HinduMyths:ASourcebook
HumorousPhasesofFunnyFaces:
TranslatedfromtheSanskrit.PenguinClassics,2004.
http://www.youtube.com/watch?v=wGh6maN4l2I

Paik,Karen,etal.ToInfinityandBeyond!TheStoryof
Fantasmagorie:
PixarStudios.ChronicleBooks,2007
http://www.youtube.com/watch?v=aEAObel8yIE

Patel,Sanjay.Ramayana:DivineLoophole.Chronicle
GertietheDinosaur:
Books,2010.
http://www.youtube.com/watch?v=UY40DHs9vc4
Patel,Sanjay.TheLittleBookofHinduDeities:Fromthe
GoddessofWealthtotheSacredCow.ChronicleBooks,
2006.
BAY AREA FIELD TRIPS
Price,DavidA.ThePixarTouch.VintageBooks,2009.
CartoonArtMuseum
Solomon,Charles.EnchantedDrawings:TheHistoryof 655MissionSt.
Animation.RandomHouse,1994. SanFrancisco,CA94105
415CARTOON
RESOURCES WEB SITES http://cartoonart.org/

SanjayPatelswebsiteforGheeHappy: Zeum(OffersStopMotionClassesforChildren)
http://www.gheehappy.com/ 221FourthSt.
SanFrancisco,CA94103
PressinfoonPixar:25yearsofAnimationfromthe 415.820.3320
OMoCwebsite: http://www.zeum.com/
http://museumca.org/exhibit/pixar25years
animation OaklandMuseumofCalifornia
1000OakSt.
InterviewwithPatelabouthisartworkand Oakland,CA94607
upbringingonSFGate: 5102382200
http://articles.sfgate.com/200701 Pixar:25YearsofAnimationisonviewattheOakland
15/news/17225053_1_hindudeitiesdiwalipatel MuseumthroughJanuary9,2011
http://museumca.org/
Pixarsofficialsite:
http://www.pixar.com/

AhelpfulsiteaboutIndianmythology:
http://www.webonautics.com/mythology/

SPARK Educator Guide Sanjay Patel 5


DISCIPLINEBASEDVOCABULARY&CONCEPTSINTHESPARKSTORY
Animation
Theprocessinmotionpicturesoftakingaseriesof
individualpicturesorframesandsimulating
movementbyputtingthemtogetherinatimed
sequencetogivetheappearanceofcontinuousmotion.
Thetraditionalanimationprocesscalledcelanimation
orhanddrawnanimationwasusedformostanimated
filmsofthe20thcentury,butthismethodbecame
obsoletebythebeginningofthe21stcenturyandtoday
drawingsareeitherscannedordrawndirectlyintoa
computersystemusingvarioussoftwareprograms.
2Danimationinvolvescreatingmovingpicturesina
twodimensionalenvironmentwhereas3Danimation
simulatesmovingpicturesinathreedimensional
digitalenvironment.
Anime
Ananimationstyle,bothhanddrawnandcomputer
animated,whichoriginatedinJapan,andwhichis
oftencharacterizedbyitsmenacinganddark
sensibility
Comic
FromtheGreekwordkmikos,oforpertainingto
comedy.Thisisagraphicmediumwhichconstructs
thenarrativethroughsequentialimages;pictures
ratherthanwordstellthestory.Speechoftenappears
inwordballoonsandcaptionswhichexpanduponthe
images.
Composition
Anarrangementofvisualelements
Deity
Divinebeing,godoridol
FineArt
Anyoftheartforms,suchassculpture,painting,or
music,usedtocreateartwhichappealsto
aestheticsensibilitiesaswellasexpressingtheartists
visionorfeelings.
SPARK Educator Guide Sanjay Patel
SECTION IV VOCABULARY
Graphicdesign
Thetermgraphicdesignreferstoartisticand
professionalskillsthatfocusonvisualcommunication
andthepresentationofideas,oftenusingcomputer
softwareprograms.Agraphicdesignermayuse
typography,artworkandpagelayouttechniquesto
producethefinalresult.
Karma
Fate,destiny,fortunedrawnfromHinduandBuddhist
philosophy
Manga
AJapanesestyleofcomicbookoranimatedcartoons
Storyboard
Sketchesordrawingsarrangedinsequence,outlining
scenesthatwillmakeupafilm,televisionshow,or
advertisement.
Stopmotion
Stopmotionanimationreferstoanimationcreatedby
photographingobjectsoneframeatatimetocreatethe
illusionofmovement.Itisalsoknownasstopactionor
framebyframesinceitcreatestheeffectofobjects
movingontheirown.Clayfiguresareoftenusedin
stopandmotionanimation.Motionanimationusing
clayiscalledclayanimationorclaymation.LEGOtoys
arealsousedtocreatethiseffect.
Surrealism
Early20thcenturymovementinartandliteraturethat
soughttorepresentthesubconsciousmindbycreating
fantasticimagery,juxtaposingcontradictoryideasand
images,andexploringwaystofreetheimagination.
Treatment
Referstoablueprintoroutlineofascreenplayis a is
a Short S
Typography
Font,typeface,lettering,style
6

STANDARDSBASEDACTIVITIES&DISCUSSIONPOINTS
Animation
StreamatrailerorteaserfromaPixarfeatureat
http://www.pixar.com/featurefilms/index.htmlor
thetrailerfromToyStory/ToyStory2at
http://www.imdb.com/video/imdb/vi2052129305/
AlternativelyplayashortclipfromaDVDofoneof
Pixarscelebratedfeaturesfilms.
Askstudentstothinkabouttheappealofanimation
andmotiongraphics.Workinginsmallgroups,ask
themtorespondtothesampleclipandidentifythe
differentelementsinthecreativedesign:
Whatisthecreativeoverarchingidea?
Describethecharactersandthelandscape.
Howdoesanimationaddtotheimpactofthe
narrative,characters,idea?
Commentonthemotiongraphicstypography,
movingtext,shape,texture,voiceandsound,
etc.
Isanimationmostconducivetosciencefictionor
fantasy?
Istheappealcrossgenerational?
Whatfactorsmake3Danimationdifferentfrom
thetraditional2Dcelanimation?
Writingassignmentsfor912 grades
th
1.Areanimationandmotiongraphicsallabout
imagination?Freewriteinresponsetothis
question.
2.ReviewaPixarfeaturefilmaddressingsomeof
thepointslistedabove,butalsoincludeapersonal lifeinananimatedmovie!Youllsculptyour
responsetothefilm.
Asanextensionactivity,suggestthatstudentsview
theshortcliptheyhaveselectedwiththeirparents
orgrandparentsorboth.Similarly,encouragethem
toviewtheclipwithyoungerchildren.Askthemto
drawupontheirobservationstocompareresponses
acrossagerangesandgenerations.
Shareresponseswiththewholegroupanddiscuss
observations.
SPARK Educator Guide Sanjay Patel
SECTION V ENGAGING WITH SPARK
SPARKLER*(moreactivitiestoextendlearning)
*IntroducestudentstoTheToonInstitutesFree
AnimationCourseandsuggestthattheychoose
fromthelistofactivitiestoexperimentwiththe
basicstepsinvolvedinanimation.
http://www.awn.com/tooninstitute/lessonplan/lesso
n.htm
*Foranimationactivitiesusingclay,theycanvisit
http://www.princetonol.com/groups/iad/lessons/mi
ddle/clayconnie.htm.
FieldTrips
ConsidervisitingtheCartoonArtMuseuminSan
Franciscoifitisreasonablyclosetoyourschooland
avisitcanbeorganized.Themuseumoffersan
educationalprogramwhichincludesclassesin
cartooning,illustration,andanimationaswellas
SchoolGroupToursandFieldTrips,Classroom
Outreach,AfterSchoolPrograms,Camps,and
Internships.Forinformation,visit
http://cartoonart.org/education/.
Similarly,dependinguponaccessibility,students
wouldenjoyavisittotheAnimatorsStudioat
Zeum:
http://www.zeum.org/exhibits/animatorsStudio.html
ThishandsonartsandtechnologymuseuminSan
Franciscooffersyoungerstudentstheopportunityto
exploreanimation,sound&videoproduction,live
performance,andvisualarts.Dreamupastory,
createyourownclaycharacters,andbringthemto
charactersfromwireandclay,chooseastageset,
andfilmyourclayanimationwithavideocamera
andacomputerinaprocesscalledstopmotion
animation.
7
PixarsProcess
ThePixarfilmproductionprocessinvolvesfour
stageswhichareoutlinedat:
http://www.pixar.com/howwedoit/index.html
Thestagesinclude:
1.Development,creatingthestoryline
2.Preproduction,addressingtechnicalchallenges
3.Production,makingthefilm
4.Postproduction,polishingthefinalproduct
Workingingroupsordevelopmentteams,
encouragestudentstotrythefirsttwostages;to
pitchastoryideaandwriteatreatment.Advise
themtokeeptheirideassimple.Detailisnotneeded
atthisstage.Allocatesufficienttimeforstudentsto
brainstormtheirstoryideaandthinkthroughhow
theywillpresent/pitchit.Theyshouldbesuretotalk
aboutpossibilitiesandtheirvisionwhentheywrite
uptheirtreatment,whichinthisinstanceshouldbe
limitedto500wordsatmost.
Forguidanceonhowtowriteatreatment,visit
http://www.writingtreatments.com/html/home.html.
Ifsomestudentsaremorevisualintheirapproach
andprefertodraw,aftertheinitialideaisconceived,
suggestthattheyconferwiththeirdevelopment
teamanddrawsamplecharacters,andthevisual
lookorbackgroundset.Inviteallthegroupstopitch
theirideastotheclassandaskthewholegroupto
selectthebestideathatis,themostimaginative,
inspirational,andfeasibletorealize.
Asafurtheractivitytoprovidecontextand
backgroundforPixarasacompany,askstudentsto
researchthehistoryofthecompanyanditsrelation
toDisneyandGeorgeLucasStudios.
Howdidthecompanyevolvefrom1986to
whereitistoday?
Howhasthetechnologychangedand
developedfromtheearlyanimationstofilms
today.
Askstudentstowriteupresponsestothese
questions(500wordsatleast).Theyshouldvisitthe
Pixarwebsiteat
http://www.pixar.com/companyinfo/history/index.h
tml,butalsodrawuponothersources,referencing
themcarefullyastheywork.
SPARK Educator Guide Sanjay Patel
SPARKLER*
DirectstudentstotheinterviewwithSanjayPatel,
ananimatoratPixar,togaininsightintohisprocess
at
http://www.pixar.com/artistscorner/sanjay/intervie
w.html.
SanjayPatel:FineArtist
PlaytheSPARKepisodewhichfollowstheworkof
SanjayPatelwhoisfeaturedintheexhibitPixar:25
YearsofAnimationatOaklandMuseumof
California.Sanjayisananimator,butalsoafine
artistandhascreatedtwobooksthatexploreand
animatehisancestryasthechildofIndian
immigrants.
Ramayana:DivineLoopholeisbasedontheHindu
epic,andiscomposedofmorethan200detailed,
vividlycoloredillustrationscreatedfrompencil
drawings,whicharescannedintoacomputerand
coloredandmanipulatedwithAdobeIllustratorin
thedistinctivestylehedevelopedasananimatorat
Pixar.ThroughhisartheexploresHindumythology
andtheculturesheexperiencedgrowingupasa
childinCalifornia.
AskstudentstolookcloselyatimagesonSanjay
Patelswebsiteathttp://gheehappy.com/
Workinginpairsorgroups,askstudentstospecify
andreferencethepiecetheyareviewingand
respondtothefollowingquestionstakingnotesas
theywork.
Whatdoyousee?Whatimagesdoyouseeand
whatisthesubjectmatter?Howisit
represented?
Whatshapesdominatetheartwork?(geometric,
organicetc.)
Whatlinesdominatetheartwork?(straight,
curvy,other)
Thevectorstyledrawings(knownforstraight
linesandsmoothcurves)areunique,especially
whenusedtotellmythicaltales(reviewatthe
amazon.comURLabove).
Whatcolorsareused?Aretheystrong,vibrant
andjoyousorpastelandlowkey?
Describethepatternsandtextures
Shareresponsesinthewholegroupandexplore
studentsideasaboutthework.Dotheyfindit
exciting?Doescartoonandanimationaddtothe
effect?Istheworksymbolicorresonanttothemin
anyway?
8
 RELATEDSTANDARDS
SPARKLER* VISUALARTS
StreamtheNPRTheWorld/audiointerviewwith
Grade4
SanjayPatelabouthisfineartworkat 1.0ARTISTICPERCEPTION
http://gheehappy.com/about.html. 1.5Describeandanalyzetheelementsofart(color,
Hetalksabouthisbooksandthebackgroundofhis shape/form,line,texture,spaceandvalue),emphasizing
form,astheyareusedinworksofartandfoundinthe
visualtakeonHindumythology:
environment.
TheLittleBookofHinduDeities:FromtheGoddess
ofWealthtotheSacredCowand Grade6
2.0CREATIVEEXPRESSION
Ramayana:DivineLoophole 2.1Usevariousobservationaldrawingskillstodepicta
varietyofsubjectmatter.

Grade8
1.0ARTISTICPERCEPTION
1.1Useartistictermswhendescribingtheintentandcontent
ofworksofart.
4.0AESTHETICVALUING
4.3Constructaninterpretationofaworkofartbasedonthe
formandcontentofthework

Grade912Proficient
1.0ArtisticPerception
1.3Researchandanalyzetheworkofanartistandwrite
abouttheartistsdistinctivestyleanditscontributiontothe

meaningofthework.
1.5Analyzethematerialusedbyagivenartistanddescribe
howitsuseinfluencesthemeaningofthework.

FormoreinformationaboutSPARKandits
educationalcontent,includingtheVisual&
Grades912Advanced
1.0ArtisticPerception
PerformingArtsStandards,visittheWebsiteat
1.6Describetheuseoftheelementsofarttoexpressmoodin
http://www.kqed.org/spark/education. oneormoreoftheirworksofart.
2.0CreativeProduction
2.4Demonstrateintheirownworksofartapersonalstyle
andanadvancedproficiencyincommunicatinganidea,
theme,oremotion.
2.5Useinnovativevisualmetaphorsincreatingworksofart.

FormoreinformationabouttheCaliforniaVisual&
PerformingArtsStandards,visittheCADept.of
Educationathttp://www.cde.ca.gov/standards/vpa.

SPARK Educator Guide Sanjay Patel 9