PUBLIC ART, COMMUNITY, AND SPRAY PAINT AS AN ARTISTIC MEDIUM INSPIRED BY MAXIMILIANO BAGNASCO

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.

Students will be able to…

• Learn safe and effective techniques for using spray paint as an artistic medium.
• Design and create a stencil-based spray paint piece that conveys a personal or social message.
• Reflect on how art can be used to speak out, uplift, and engage communities.
• Explore the power of public art as activism and expression.

*NOT LISTED*

Collaborative Art Making

• Spray paint (multiple colors, student-safe brands like MTN Water Based if indoors)
• Canvas boards, cardboard, or wood panels (11×14 or larger)
• X-Acto knives or scissors
• Cutting mats
• Protective gloves, masks, aprons
• Drop cloths or tarps
• Rulers, tape, newsprint

• For Research and Planning
  • Printed or digital visuals of Beyond Walls murals
  • Sketchbooks or planning journals
  • Pencils, erasers, markers, colored pencils
  • Sticky notes, chart paper
  • Projector or smartboard (for showing mural examples and critiques)
• For Prototype Creation
  • Cardboard boxes (flattened, to simulate walls) or foam core/poster board
  • Acrylic or tempera paint
  • Paintbrushes, sponges, palette knives
  • Rulers, stencils, compasses
  • Spray paint (for extension project, with safety guidelines and PPE)
  • Scissors, utility knives (teacher supervised), glue, tape
  • Printed handouts: design templates, rubrics, reflection prompts
• For Presentation
  • Display space (hallways, gymnasium, classrooms)
  • Push pins, clips, easels
  • Artist statement templates

Mural – A large artwork painted or applied directly on a wall or permanent surface.
Public Art – Art in public spaces, intended to be accessible to all and often meant to inspire or represent a community.
Prototype – A preliminary version of an artwork or product used to test concepts and designs.
Symbolism –The use of symbols or imagery to represent ideas or qualities.
Community Engagement – Involving community members in decision-making and design processes.
Urban Planning – The design and regulation of space in cities, including public art and community development.
Visual Hierarchy – The arrangement of visual elements to show importance or direct the viewer’s attention.
Collaboration – Working together toward a shared goal, combining skills and ideas.
Scale – The relative size of different components in an artwork.
Contrast – A principle of design that emphasizes differences in elements such as color, shape, or size.

Day 1: Exploring Public Art and Spray Paint
Warm-Up Discussion:

• What messages do we see in street art, murals, posters?
• Is all public art legal?
• Is all public art meaningful?

Mini-Lesson:

• Watch a short video or slide deck featuring spray paint/stencil artists (e.g., Banksy, Shepard Fairey, Favianna Rodriguez, or local artists).

Discussion Activity:

• Use driving questions to prompt small group dialogue or set up a gallery walk with posted questions.

Optional Reading/Viewing:

• Short article, artist interview, or mural description related to public art.

Day 2: Stencil Design & Idea Development
Creative Prompt:

• “If you could spray one idea into the world, what would it be?”

Sketchbook Work:

• Brainstorm symbols, words, and images reflecting beliefs, identity, or hopes.
• Create thumbnail sketches for a simple, stencil-ready image.

Mini-Lesson:

• Basics of stencil design—high contrast, clean edges, bridges/islands, layering.

Demonstration:

• Safe cutting techniques with X-Acto or utility knives.

Accommodations:

• Offer printed icons or shapes to trace/modify.
• Provide pre-made stencils for students needing extra support.

Day 3–4: Spray Paint Workshop
Setup:

• Use outdoor or well-ventilated space with drop cloths, gloves, masks, and boards/canvas.

Safety Lesson:

• Proper ventilation, spray can control, use of safety gear.
• Environmental and personal responsibility in public art.

Spray Paint Techniques:

• Holding distance, layering, fades, masking, textures.

Studio Time:

• Students spray their stencil designs onto canvas boards (11×14″ or 16×20″), reclaimed wood, or cardboard.
• Option to include a short message or word (freehand or stencil).

Extension:

• Use multiple colors or stencil layers for more complex compositions.

Day 5: Reflection, Presentation, and Connection
Reflection Activity:

• Written or oral artist statement explaining the meaning behind their work.

Class Presentation:

• Share finished artwork in a classroom pop-up gallery.

Connection to Community:

• Discuss how public art impacts communities and sparks dialogue.

• Provide sentence starters for critiques and reflections (e.g., “This mural shows…” or “Our message is about...”)
• Allow students to brainstorm and reflect in their home language before translating to English
• Pair with bilingual partners or use small-group instruction with visual aids
• Provide graphic organizers for mural planning and research
• Use checklists to break down tasks into manageable steps
• Provide extended time and frequent teacher check-ins
• Offer leadership roles within mural teams (e.g., team coordinator, materials manager, concept developer)
• Allow students to contribute written thoughts to collaborative idea walls or feedback boards

Formative:

• Student Journal/Mind Map (Individual)
• Sketches and mockups (group)
• Critique circles: Peer feedback sessions to refine ideas
• Field Trip Discussions

Summative:

• Mural Prototype and Presentation.

Assessment Purpose

• Assess students’ ability to conceptualize, design, and produce a stencil-based spray paint artwork with a compelling message.
• Evaluate advanced artistic technique, symbolism, and creative risk-taking.
• Measure students’ ability to critically reflect on public art’s role in activism, culture, and community engagement.
• Encourage authentic presentation skills through an artist statement and critique dialogue.

Assessment Components

Formative Assessment

• Research & Idea Journals: Documentation of community themes, influential mural/street artists, and preliminary sketches.
• Design Development: Multiple iterations of stencil ideas, experimentation with scale, contrast, and layering.
• Critique Circles: Evidence of giving and receiving constructive, specific, and actionable feedback.
• Reflection Logs: Notes connecting public art to activism and social issues.

Summative Assessment

• Final Artwork: A finished stencil-based spray paint piece or mural prototype that demonstrates advanced control of technique and visual communication.
• Artist Statement (500–700 words or 3–5 minutes oral): Written or spoken reflection that:
  • Explains the symbolism and design choices.
  • Connects the piece to a broader social/cultural/community issue.
  • Discusses how art can function as activism
• Presentation & Critique: Formal gallery-style presentation with Q&A, demonstrating ability to articulate ideas and respond thoughtfully to peer/teacher questions.

Rubric (High School Level, 4-Point Scale)

Tiered Supports for English Language Learners (ELLs)

Beginning ELLs

• Provide bilingual glossaries with visuals (symbolism, contrast, activism, prototype).
• Allow oral storytelling, labeled sketches, or audio recordings instead of full written statements.
• Scaffold sentence frames: “My artwork symbolizes ___ because ___.”

Intermediate ELLs

• Graphic organizers for artist statements (themes, symbols, social issue, personal connection).
• Paired/group critique using guided prompts to build academic art vocabulary.
• Draft in home language, then translate/refine key sections with support.

Advanced ELLs

• Scaffolded academic language for critique: “The artist’s use of contrast communicates…,” “This piece reflects activism because…”
• Challenge to incorporate references to external artists or movements in their statements.
• Opportunity to lead critique discussions or co-present with peers.

Teacher Notes

•  At the high school level, emphasize authentic voice and risk-taking in both the artwork and reflection.
• Encourage students to connect with real-world public art movements (e.g., Banksy, Shepard Fairey, Beyond Walls) and current issues in their communities.
• Assessment should value process + product + reflection equally.

identity map worksheet
PBL and Art Identity
how to cut a stencil

https://lynnpublicschools-my.sharepoint.com/personal/reynoldsc_lynnschools_org/_layouts/15/guestaccess.aspx?share=Ef9fYEeCc_NJmd1Sl34TkawBXot0ujvPvRT6JwvSU8zhjA&rtime=HkhNqdwb3kg