About Me

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Chay Ross, Artist, was born and raised in the surrounding areas of South Bay and Los Angeles California. She earned her Bachelor of Arts in Arts Education from California State University, Los Angeles, which allowed her to train and study interdisciplinary areas within the arts and education profession. To advance her academic discipline, she went on to earn her Masters of Arts in Education (M.A.Ed.) and single-subject teacher certification in Visual Arts. In her spare time, she likes to do arts & crafts. She also likes to watch YouTube videos to learn various new skills.

Tuesday, October 26, 2010

Art Lesson Plan "Basic"-Tropical Fish by Chalon

US Arts Center 2009

Lesson Plan Title

Under the Sea



Concept / Topic To Teach

Practice Color Theory (primary colors, secondary colors, warm colors, cool colors, neutral colors, complementary colors)

Practice Geometric Shapes

Practice Organic Shapes

Student will create a composition of a TROPICAL FISH. Students will explore the elements of COLOR THEORY (primary colors, secondary colors, warm colors, cool colors, neutral colors)

Standards Addressed


Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to the Visual Arts


Creating, Performing, and Participating in the Visual Arts


Responding to, Analyzing, and Making Judgments About Works in the Visual Arts


Connecting and Applying What Is Learned in the Visual Arts to Other Art Forms and Subject Areas

Specific Objectives

1.2 Identify colors by name.

1.3 Identify the elements of art (line, color, shape/form, texture, value, space) in the environment and in works of art, emphasizing line, color, and shape/form.

2.2 Demonstrate beginning skill in the use of materials (such as pencils, paints, crayons, clay) to create works of art.
2.3 Experiment with colors through the use of a variety of drawing materials and paints.

2.6 Use geometric shapes/forms (circle, triangle, square) in a work of art.

4.1 Discuss their own works of art, using appropriate art vocabulary (e.g., color, shape/form, texture).

5.1 Draw geometric shapes/forms (e.g., circles, squares, triangles) and repeat them in dance/movement sequences.

Required Materials

1. Plain Paper (11x17'')

2. Plain Paper (8.5x11")

3. Graphite Pencil

4. Eraser

5. Markers

6. Colored Pencils

*Water Color Pencils

*Water Color Paper

*Paint Brush

*Water + Napkins

Anticipatory Set(Lead-In)

Teacher will incorporate this session into a game and/or contest to see if students can think of different sea creatures and draw them on paper. Student results will be hung for reference.

Step-By-Step Procedures

Week 1:

1. Anticipatory Set (15 minutes)

2. Lecture/Demonstration. Teacher will have printout and/or utilize multimedia to show examples to students. Students will discuss sea creatures after class lecture and visuals of SEA LIFE. Students will recognize cool and warm colors and will apply the colors in their work. (15-20 minutes)

3. Proceed to demonstrate the beginning drawing techniques on the classroom blackboard and have students follow along independently.


a. Tropical Fish using a variety of shapes.

b. Add details

c. Background including (but not limited to) trees, gravel, sea weed and WATER WAVES.

d. Sun, Moon, Clouds etc. (optional)

e. Encourage creativity and drawing from the imagination.

4. Color using color pencils and/or marker.

Week 2-4:

1. Continue work/coloring session.

2. Teacher will introduce/go over vocabulary words associated with current lesson.

3. Critique Session (10-15 minutes)Students will discuss all aspects of what was learned in the work session including (but not limited to)...

a. Tips / Suggestions

b. analyze elements of art (line, shape, color, texture, form, space, and value)

c. students will briefly tell the story about their own works of art

*Teacher and TA will monitor students progress during the entire drawing and coloring process.

Total Work Session (8 hours/4weeks)

Plan For Independent Practice


Students will draw 4 sea animals.

Students will decorate with color and simple patterns.

Adaptations (For Students With Learning Disabilities):

Student may avoid detailed/complexed composition. Students may use markers and and twistable as substitute.

Extensions (For Gifted Students):

Student may attempt a detailed/complexed composition with permission and oversight by teacher(s). * Students may use WATER COLOR PENCILS for the background (water). Students must use 2-3 ANALOGOUS COLORS to blend for the water.

Confidential document.

Students artworks

Confidential document.

© C.ross Design 2010. All Rights Reserved.

AP Art Lesson Plan - Self Portrait by Chalon


Advanced Placement Art

Grade: 9-12

Subject: Art. Drawing & History

Topic- Self Portrait, Influenced by Pablo Picasso's Blue and Rose Periods.

Instructor: Mrs. Chalon Ross-Lee

Teacher Reflection-

When writing this lesson plan, I wanted students to see understand how the mood of an art piece

can change by simply changing it's colour. For a more dramatic effect, I decided to use black

paper with colour pastels applied. They were able to create a self-portrait that displayed them in

a completely different light, creatively. They were given expressive freedom, while exploring line,

form, and spatial relations. This is an engaging project that I am sure students will enjoy.

California State Standards:

1.6 Describe the use of the elements of art to express mood in one or more of their works of art.

1.8 Analyze the works of a well-known artist as to the art media selected and the effect of

that selection on the artist's style.

2.1 Create original works of art of increasing complexity and skill in a variety of media

that reflect their feelings and points of view.

4.2 Identify the intentions of artists creating contemporary works of art and explore the

implications of those intentions.


Students will..

1. Gain an understanding and discuss how art and color can effect emotions.

2. Convey one aspect of your identity (mood), through the use of color in your self-portrait.

3. Show / articulate examples of how color influences culture.

4. Describe how your personal beliefs, cultural traditions, social groups, and media influence your

choice of color meaning in your self portrait.

5. Show finished project with appropriate colors, forms, and gestures.

Anticipatory set:

PowerPoint Introduction-

Picasso went through many periods in his life. One of the most famous ones was the Blue period

(1901-1904). During that period his friend died which encouraged him to paint in very sad colors.

After that was the Rose period (1906-1907). In this period he painted with reds and other bright

colors. His paintings were positive.

When he got older, he painted with a circus theme. Some of these paintings were Parade and

Acrobat with ball.


a. Input.



a. Introduction, b. demonstration, c. methods to be used.

Day 1-5: Introduction

1. Display several paintings by Pablo Picasso.

2. Explain the Blue and Rose Periods in Picasso's art and its importance (artists who were

influenced by it).

3. Ask students to studying how light and shadow are related.

4. Discuss with the students what thoughts the paintings bring to mind, what emotions they

evoke. Explain to the students how different paintings can stir different thoughts and emotion.

b. Modeling.


Day 6: Beginning of art making session 1. Discuss the methods that were used by different artist.

Pass out supplies

Day 7-25: Continuation of art making session and research project

Duration: 25 one-hour classes/approximately 6 weeks.

Materials and aides:

1. Photograph of yourself.

2. Charcoal Paper, 11''x14'' or larger.

3. Soft pastels.

4. Drawing board.

5. Stumps.

6. Spray fixative.

c. Check Understanding.

Evaluation and Grading Rubrics

Required: Short research paper.

Required: Oral presentation of the material.

Required: Poster or PowerPoint.

Optional: For extra credit, students may bring examples of Degas' many

pastels; or Pierre Bonnard, Mary Cassatt, Odilon Redon, Willem de Kooning, and Berthe


Did students…

1. Gain an understanding and discuss how art and color can effect emotions.

2. Convey one aspect of their identity (mood), through the use of color in their self-portrait.

3. Show / articulate examples of how color influences culture.

4. Describe how their personal beliefs, cultural traditions, social groups, and media influence their

choice of color meaning in their self-portrait.

=50% of final grade.

5. Show finished project with appropriate colors, forms, and gestures.

=50% of final grade.

Guided practice:

Through the instructor’s guidance, each student will…

1. Create a sketch outline.

2. Chose a color scheme / palette.

3. Apply color using light to mid-tones, then highlights and dark tones.

4. Retouch with highlights and dark tones.


Ask students what they think about Pablo Picasso and his different moods.

Ask students how do the paintings make them feel.

Do they like this style of artwork (remember there are no wrong answers here) Ask questions

about what was learned.

Independent Practice:

Through independent studies, each student will define…

1. Color Relationships

2. Expression

3. Contour

4. Mood

5. Neutral Colors

6. Achromatic - Monochromatic

Through independent studies, each student will read…

1. Handouts/text book related to topic.

Through independent studies, each student will write…

1. 400-700 word research paper on topic.

© C.ross Design 2010. All Rights Reserved.

Friday, August 27, 2010

Guest Post: The Ins and Outs of Street Art -by Joy Henry

Joy Henry is a guest blogger for My Dog Ate My Blog and a writer on online schools for Guide to Online Schools.

The Ins and Outs of Street Art

When you think of street art, please don't think of the large unreadable spray paint spirals on the side of your local abandoned building. Street art is not to be confused with graffiti or vandalism. While it can be done with spray paint, street art usually has a point besides adorning the side of a building with the artist's name. Street artists aim to reclaim public spaces by creating outdoor, situational art in them. It can take the form of graffiti, stenciling, street posters, or basically any sort of outdoor installation. In the end, though, most street art can be grouped by its attempt to take an ordinary place and give in it an element of surprise, beauty, or thoughtfulness that one wouldn't normally encounter in a public space.


While people have been scratching on their surroundings since the beginning of time, street art really got its start in the rise of counterculture of the '60's and '70's. Graffiti seemed to go along naturally with the radical political movements and rock and roll music that were springing up at the time. New York subways were crucial to the movement: subway cars bedecked with tags and spray paint scrawls were the ground zero for street art development. In the 70's, "Dick Nixon Before He Dicks You," was a popular tag with those upset with the current president.

The '80's and the rise of hip hop brought graffiti into the mainstream. Films such as Wild Style and the PBS documentary Style Wars captured hip hop culture and its use of graffiti as a means of expression. As the consciousness of graffiti in the popular psyche increased, graffiti began to come up in movies, video games, and other media.

Street Art as High Art

In recent years, street art has come to be more accepted as a legitimate art form. Banksy, a famous street artist from the United Kingdom, has become so accepted that the city of London allows his art to adorn public buildings. Banksy also represents a new type of street artist; he not only does street art, but also indoor art and films. His Andy Warhol-esque screenprint of Kate Moss sold for over £50,000 in 2006. His film Exit Through the Gift Shop, which bills itself as "the world's first street art disaster movie," premiered at the Sundance Film Festival this year.

5 Great Street Art Blogs

Here's a roundup of five blogs that capture examples of various types of street art.

  • Banksy: Banksy is probably the world's most famous street artist. Based in the UK, his outdoor stencil designs are often satirical or tongue-in-cheek political statements. A particularly good one is this stencil of a kid on the outside of a torn down Detroit building proclaiming, "I remember when all this was trees."

  • Wooster Collective: This blog showcases street art from around the world. From paint to sculpture, all sorts of installations are collected here. This one comments on the current immigration laws bouncing around in the Arizona courts.

  • Posterchild's Blade Diary: Posterchild is a Canadian street artist who does both stencil artwork and other types of installations. His works are fun and politically-minded, and he makes them by taking discarded items and returning them to the city in the form of art. A personal favorite of mine are the urban planters made from recycled wood.

  • Vandalog: Vandalog is a blog that collects street art that pushes the boundaries of acceptability. I like the fake advertisements that poke fun at cooperate culture.

  • Little People: Street art depends on the surprise and excitement that passers-by experience when they come upon it. In this project, tiny hand-painted people are left around London and photographed, and they are surprisingly good at making you question your surroundings.

Special thanks to

Joy Henry and the the editor of

My Dog Ate My Blog for taking an interest in my blog, CHALONROSS, and for offering to write a guest post. Your time and efforts are greatly appreciated.

Wednesday, July 28, 2010

My Art Class: 1week-1year of experience. Ages 4-6

These are some of my kid's art work. For some of them, this is their very first. None of these students have been with me over a year.

Tuesday, July 27, 2010

Mistakes: Teach and LEARN

At 3am, this is weighing heavy on my mind. I made a couple of mistakes in the last few weeks and I need to fix them right away. For instance, I wrote a lesson plan, implemented it for the first time, and now I have to rewrite at least 30% of it. Please keep in mind that these are MY mistakes and not my students. Here are some of my bloopers and possible solutions.

1) Artwork unfinished : It's a good thing I take pictures of every art piece my students complete for my own review. I was browsing through the photos and spotted the mistake. I have seen this art work numerous times, yet I did not realize it was incomplete. Luckily this is an easy fix. I just need to call the students home and ask the parent to send it back (yes it is that important to me). The student only needs to touch-up/fill-in an area (blue area to the right). This may not seem like that big of a deal, but I don't feel it will represent the 4th of July until this is done. It shouldn't take no more than 5 minuets.

2) Art Lesson Improvement. I would not go as far to say that this lesson was a complete failure because I received some pretty good results. But after the lesson was completed, it became clear how it can be improved. This is the problem with brand new lesson plans. The mistakes are not foreseeable. Ways to improve are (a) create the lesson before it is implemented, if possible, and (b) seek advise from a more experienced teacher.

The moral of this post is, teachers will make mistakes. Don't freak out if you realize you did something wrong, just make sure you do everything you can to fix it and avoid doing it in the future. Please don't be afraid to ask someone for help. It is good to collaborate with someone. Teach and LEARN :)

Saturday, July 17, 2010

The Science of Teaching: Beginning Drawing. - by Chalon Ross

The science of teaching is universal to all subjects. For the purpose of this column, it will relate to art and will be broken down into several categories. The categories include (1) Teachers using a behaviorists approach. A behaviorist goal is to alter a person's behavioral patterns. This can be explained best in terms of conditioning students' work habits in order to complete the drawing assignment. (2) Making cause and effect learning connections. If a students moves ahead of the teacher, this may cause the student to do the task incorrectly. Whereas, if the student patiently waits for the proceeding step then follows along, it is highly likely for the student to have a positive outcome. This will be explained to students prior to the lesson in order to avoid any mishaps. (3) The teacher must use observable and measurable terms. Teaching using a scientific methods requires studying and methodology. Therefore, when teaching how to draw using a step by step approach, it is vital that students are familiarized with basic terms and symbols such as circles, ovals, and squares prior to the lesson in order to comply. (4) Teacher must use a step-by-step sequential process. The step by step method will be the final stage in teaching as a science. Once the processes previously mentioned are achieved, students will now be able to follow along with the teacher. The first step is drawing the main subject, followed by the middle ground and the background if applicable.

But hey, this is nothing new. In fact, in relation to the arts, this is the Gluck Method.

Saturday, June 26, 2010

Concepts of Jean Piaget's Theory and How they Effect Classroom Instruction - by Chalon Ross

Ok fellow educators, take a deep breath and follow me.

Jean Piaget's view of schema is knowledge. This includes the process of obtaining that knowledge in our everyday world. These processes are through: (a) assimilation, (b) accommodation, and (c) equilibration. He claims that humans cannot be given information, which they immediately understand and use; instead, humans must construct their own knowledge (Powell & Kolina, 2009). Here is an explanation of how this can be done.

Assimilation. According to Cherry, the process of taking in new information into our previously existing schemas is known as assimilation (2010). Assimilation can be seen in a toddler whose sole male figure is his father. The toddler perceives his father as tall and heavyweight. If the toddler is then introduced to another male figure that has similar physical characteristics, the toddler may conclude that this new man is also its father (by saying dada, or poppa) even though they are two different men. Another example is when a teenage girl may have a preconceived notion that all boys who wear braces, wear glasses, and who earns straight A's by studying frequently are nerds or geeks. Being a geek often has negative connotations when characterizing a teenager. Suppose the teenage girl has a crush on her school's star football athlete. She likes him because he possess qualities such as muscles, popularity, and good looks, but she finds out later that in addition to the qualities she like about him, he also possess all qualities know to her as a geek. The teenage girl can then process this information and apply it to her existing thoughts. She can now formulate the new data she received and come to an alternate conclusion about her idea of a geek. Assimilation occurs when the girl gathers all of her thoughts and concludes that the star athlete is in fact nonetheless, a different type of geek.

Accommodation. The process in which we change or alter our existing schemas in light of new information describes accommodation (Cherry, 2010). We can use the analogy of the teenage girl and geek given above. In assimilation, the teenage girl received new information about the guy she liked, but still referred to him as a geek because she only subjectively modified her existing beliefs. Whereas in accommodation, the teenage girl would have changed her mind about geeks once the new information was received because she developed a new schema. In the teenage girl's case, her newly developed schema suggests that just because the football player she likes possess all of her preconceived qualities of a geek, it does not make him a geek.

Equilibration. Striking a balance between assimilation and accommodation is the challenge of equilibration. This helps determines how students develop from one stage of thought to another. This can be applied to social development, cognitive development, and even academic development.

Classroom Management. Teachers must base their classroom management on schemes that students are familiar with. This includes the curriculum and instructional execution. For instance, if an adolescent student is not familiar with mathematical concepts such as addition and subtraction, the teacher cannot teach the student multiplication and division because there is no cognitive foundation. Even if the classroom teacher attempts to execute this new concept to the student, accommodation cannot occur because there is no preexisting schema. Furthermore, teachers must produce curricula that appropriately suit the cognitive level of all students. If a teacher instructs students on material that is below their level, equilibration cannot occur. This in turn will prohibit students from advancing from one cognitive level to the next. In this case, in order for cognitive advancement to take place, the teacher must assess students' level, and then start classroom instruction through assimilation. For example, a student may understand the concept of addition. The student may be able to add two plus two, but when given an addition problem of three plus five, assimilation has to occur in order for students to build on their existing knowledge to figure it out. The teacher must continuously repeat concepts and check students for understanding by asking questions and giving assessments.

Break Down of Jean Piaget's Theory (hope I simplified it enough)

1. Assimilation.
The process of taking in new information into our previously existing schema.
Ex 1. Toddler + (dad & dad's friend) = (dad & dad)
Ex 2. Toddler + (cute little dog & big ugly dog) = (dog & dog)
2. Accommodation.
The process in which we change or alter our existing schemas in light of new information.
Ex. Believing El Torritoes is an authentic Mexican restaurant until you acquire authentic Mexican Food.
3. Equilibration.
Striking a balance between assimilation and accommodation to help determine how students develop from one stage of thought to another.
Classroom Management.
1. Classroom instruction through assimilation.
Example. Addition concept. 2+2 vs. 3+5

Note: The student may be able to add two plus two, but when given an addition problem of three plus five, assimilation has to occur in order for students to build on their existing knowledge to figure it out.
2. Classroom instruction through accommodation.
Example. Mastering (+ & -) concepts prior to learning (x & 1/1).

Note: If an adolescent student is not familiar with mathematical concepts such as addition and subtraction, the teacher can not teach the student multiplication and division because there is no cognitive foundation.
3. Classroom instruction through equilibration.
Example. Teaching the (+ & -) concept to AP Calculus students.

Note: If a teacher instructs students on material that is below their level, equilibration can not occur. This in turn will prohibit students from advancing from one cognitive level to the next.


Cherry, Kendra (2010). Background and Key Concepts of Piaget's Theory. Retrieved from http://psychology.about.com/bio/Kendra-Van-Wagner-17268.htm

Powell, K., & Kalina, C. (2009). COGNITIVE AND SOCIAL CONSTRUCTIVISM: DEVELOPING TOOLS FOR AN i EFFECTIVE CLASSROOM. Education, 130(2), 241. Retrieved from MasterFILE Premier database.

If you guys want to learn more about the Philosopher I wrote about, click here... http://en.wikipedia.org/wiki/Jean_Piaget

Saturday, May 1, 2010

My 11y/o son "The Gugu" puts the city of HAWTHORNE on the map in one of his fictional short stories...

Getting Home from the Middle of Nowhere

By Derious Vaughn -

"Okay, this is your stop". He nodded, to the shady bus driver, "Yeah, thanks." He stepped the three steps off the bus as he thought of the last week; visiting his brother in Long Beach. "See you in my nightmares!" He baited as they parted. He looked around the place, and a single thought crossed his mind. "This is not Hawthorne." "Hey buddy, this is not my-,"but the bus driver already left.

He blinked. Did that just happened, did that really just happen? Did he just get off a bus with no idea where he was? He did a double take. Yes, apparently, he did.

Okay, the one thing that people should never do is panic in a situation like this, but that's the exact opposite what our Angel Santiago was doing at the time. Well, only if you would categorize him sweating bullets and shaking more than an earthquake panic. Yeah, I thought so.

"Hey dude, are you okay?" Angel turned around, and saw myself, a dark skinned 11 year old (he was very good telling age, much to his mothers dismay) wearing a blue sweatshirt and khaki shorts. "Yeah, kind of lost," Angel replied. I had a small grin on my face "Kind of? You look like you've never seen El Monte before." I extended his hand "Derious Vaughn, Midnight Prince." Angel shook it. "Angel Santiago, King of Midnight." I raised an eyebrow, "Looks like I have a little competition for the throne. So, lost?" "Yes, very much thank you. I live in a town called Hawthorne, have any idea were that is?" I tapped my chin thoughtfully."Hawthorne...Hawthorne...Oh! About a couple hundred miles west from here, tough luck." Angel turned pale. "A hundred miles?" What was he going to do! A hundred miles was too much on foot! "Do not worry, I am going on a bus there; to visit a sick relative." Despite the situation, Angel smiled. "That's a sad tale of woe buddy, very sad."

On the bus, me and Angel were not having a good time. A bunch of harry dudes were harassing us, a baby barfed on our stuff, and I was hungry, just to top it off. Luckily, I had some extra money to buy Angel a ticket, and the bus was already leaving at that, so we were out of breath when they finally caught up to the bus. We would of done better just walking. "God this sucks!" Angel said rather loudly. An ample amount of people gave him a volley of "Shhhhhhhs." . A baby was just born on the bus. That right, a baby. Everybody but us two were gathered around. When the evil bus finally stopped, we were the first to get up and out of there.

The good thing is that we were in Hawthorne, the bad thing is that it was almost nightfall. Hawthorne was a good enough town, at least when there is daylight. At sundown, all heck breaks loose. Both of us knew that. We looked at each other in mutual agreement. We would keep cool, stay low, and not attract any attention. We started walking into the night.

On our way, we got mugged five times, harassed six, and a couple of bruises around the face, but we made it. Finally we came outside a brown house. "Well Angel, see you later." I said as I walked off in a different direction. "W-wait,"Angel exclaimed"do you not want a ride home?" I shook my head,"I do not live very far," And that's all I said.