ART SYMBOLISM AND IMAGERY INSPIRED BY URBAN RUBEN

Inspired by Urban Ruben, In Partnership with Lynn Public Schools

ART SYMBOLISM AND IMAGERY

KEY INDICATORS:

Create – Conceiving and developing new artistic ideas and work.
Respond – Understanding and evaluating how the arts convey meaning.
Present – Interpreting and sharing artistic work.
Connect – Relating artistic ideas and work with personal meaning and external context.

LEARNING OBJECTIVES:

Students will be able to…

  • Explain what symbols/imagery should appear in your art?

STANDARDS ADDRESSED:

  • F.V.Cr.02. – Organize and develop artistic ideas and work. Develop multiple plans for producing a piece of artwork prior to selecting one.
  • F.V.R.08. – Interpret intent and meaning in artistic work. Identify specific elements in a work that connect it to a specific genre or style.
  • P.V.P.04. – Select, analyze and interpret artistic work for presentation. Explain how specific techniques were used to evoke, express, or communicate in an artistic work or collection.
  • A.V.Co.10. – Synthesize and relate knowledge and personal experiences to make art. Explain the development of a personal aesthetic vision as a visual artist and how it is represented in a specific piece or collection.

SUBJECT MATTER:

Symbolism

MATERIALS:

SKETCHBOOKS: what images could you add to your artwork that enhances your message?

VOCABULARY:

  • COLOR THEORY: mystery and magic.
  • IMAGERY: Lynn focused.
  • SYMBOLISM: love and fear.

PROCEDURES:

Day 1 – Brainstorming & Mind Mapping

Objective (SWBAT): Create a mind map/brainstorm of ideas that connect to
their intended project message.

  1. Introduction (5–10 min)
    • Teacher reminds students of the big picture: they will spend three days developing ideas before beginning their final project.
    • Share prompts to guide brainstorming: What do I care about? What do I want to say through my art? What symbols/images could represent that idea?
  2. Guided Brainstorm (10–15 min)
    • Teacher models a quick mind map on the board with a central theme (e.g., “community,” “identity,” “climate change”) and connected branches.
    • Students begin their own mind maps in sketchbooks, focusing on words, quick doodles, and personal connections.\
  3. Independent Work (20–25 min)
    • Students expand their mind maps with related imagery, emotions, and potential symbols.
    • Encourage at least 2–3 sub-branches per main idea.
  4. Wrap-Up/Exit Ticket (5 min)
    • Share one idea from their mind map with a partner.
    • Teacher collects quick check: Write down the central theme of your project in one sentence.

Day 2 – Artist Research & Thumbnail Sketching

Objective (SWBAT): Document artist research and create thumbnail sketches inspired by their brainstorming.

  1. Introduction (5–10 min)
    • Review the purpose of research in art: to find visual inspiration and learn from other artists’ approaches.
    • Present 2–3 example artists connected to students’ themes (could be drawn from street art, contemporary muralists, or other relevant genres).
  2. Research Activity (15–20 min)
    • Students use provided books, articles, or digital resources to find at least two artists whose work relates to their theme.
    • Students document:
      • The artist’s name.
      • 1–2 images that inspire them (printed, sketched, or digital screenshots).
      • A sentence about how the artist’s work could connect to their project.
  3. Thumbnail Sketching (15–20 min)
    • Teacher demonstrates what a thumbnail sketch looks like (small, simple drawings to test out imagery).
    • Students create 6–8 quick thumbnail sketches of imagery, symbols, or compositions related to their theme.
    • Encourage exploration, not perfection—stick figures and outlines are fine.
  4. Wrap-Up (5 min)
    • Pair-share: Show one thumbnail sketch and explain its connection to research.
    • Teacher checks research documentation and thumbnails for completion.

Day 3 – Composition Sketches

Objective (SWBAT): Create composition sketches as preparation for their final project.

  1. Introduction (5–7 min)
    • Teacher explains the difference between thumbnails and compositions: thumbnails are idea fragments, while compositions arrange imagery into a structured plan.
    • Demonstrate using one thumbnail → expand into a full sketch with foreground, background, balance, and emphasis.
  2. Composition Sketching (25–30 min)
    • Students select their best ideas from Day 2.
    • Create 2–3 larger composition sketches in sketchbooks (half- or full-page).
    • Encourage experimentation with:
      • Placement of objects/figures.
      • Scale changes.
      • Overlapping and depth.
      • Color notes or value shading for emphasis.
  3. Peer Feedback (10 min)
    • Students form small groups (3–4).
    • Each shares one composition sketch, receives two comments:
      • What is working well visually?
      • What could be pushed further or clarified?
  4. Wrap-Up (5 min)
    • Students reflect in writing: Which composition feels strongest, and why?
    • Teacher collects reflections to gauge readiness for moving into the final project.

* These three days are meant to scaffold idea development but can be
stretched if students need more time.

  • The due date is 3 weeks from project start, so students have ample time to revise compositions before beginning their final pieces.
  • Students who finish early may start refining their chosen composition or testing materials.

DIFFERENTIATION STRATEGIES:

  • Students can use any material that they are comfortable with
  • Small group peer editing
  • Art of Ed worksheets

ASSESSMENT:

 Formative Assessment (Day-to-Day Checkpoints)

These measure ongoing progress as students brainstorm, research, and sketch.

  1. Exit Ticket (Day 1 – Mind Mapping)
    • Students write one central theme for their project in a single sentence.
    • Teacher checks for clarity of idea and connection to symbols/imagery.
  2. Artist Research Documentation (Day 2)
    • Students submit notes on at least two artists, including images and one explanatory sentence per artist.
    • Teacher assesses whether students can connect professional examples to their own artistic goals.
  3. Thumbnail Sketches (Day 2)
    • Students create 6–8 small thumbnail sketches testing symbols and imagery.
    • Teacher looks for variety, experimentation, and links to brainstormed themes.
  4. Peer Feedback Participation (Day 3)
    • Students share one composition sketch and give/receive feedback using sentence starters.
    • Teacher records engagement and ability to use appropriate critique language.

Summative Assessment (End of 3-Day Cycle)

These measure readiness to move into the final project and the ability to apply skills from the lesson sequence.

  1. Final Composition Sketches (Day 3 Submission)
    • Students submit 2–3 developed composition sketches in their sketchbook.
    • Sketches must demonstrate:
      • Use of imagery/symbolism aligned with their intended message.
      • Experimentation with composition (foreground, background, balance, emphasis).
      • Notes on color or value decisions.
  2. Written Reflection (Day 3 Exit Task)
    • Prompt: Which composition feels strongest and why? How do your choices communicate your artistic message?
    • Teacher evaluates depth of reflection and ability to explain artistic intent.

Rubric (4-Point Scale)

A rubric chart with four columns—Exceeds, Meets, Approaching, and Beginning—judges Idea Development, Research & Connections, and Sketching & Composition for clarity, originality, research depth, and sketch quality.
A rubric with criteria for Reflection & Communication and Participation & Feedback, each rated from high to low: detailed to missing explanations, and active to absent participation and feedback.

RESOURCES:

  • RUBEN UBIERA Wall – 30 Silsby Street
  • Art of Ed worksheets for color theory and thumbnails

NOTES:

What is the importance/ process of communication of imagery IN A WORK OF ART?

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