THE INTEGRATION OF ART INTO THE SECONDARY CHEMISTRY SCIENCE CLASSROOM By Laura Rainey A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Physical Science-Interdepartmental –Master of Science 2014 ABSTRACT THE INTEGRATION OF ART INTO THE SECONDARY CHEMISTRY SCIENCE CLASSROOM By Laura Rainey This study examined the impact of relevance and interest to the students on their achievements in chemistry. Interactive-engagement methods were expected to have positive effects on students’ understanding of chemistry concepts. Art would also act as a motivator in students’ interest and participation. By integrating art into chemistry it was expected that students’ would make connections that better promoted understanding of basic, key scientific concepts in chemistry and an awareness of the chemical basis that underlies the art. It was proposed that art based lessons would lead to improved understanding and retention of core concepts as measured by pretest, post-test, classroom engagement and meeting the course requirements for completion. As shown by the pretest and post-test students showed significant growth in understanding the chemistry concepts presented. The conducted survey indicated that students were interested in the art-based activities and learned from them as well. ACKNOWLEDGEMENTS I would foremost like to thank Dr. Merle Heidemann for providing an excellent example of what a teacher and mentor should be, and her endless patience in editing. I also wish to thank my friend and colleague Matt Osman for all his help with the art projects. Thanks to my daughter Amanda for assisting with formatting and answering all those computer questions. A special thanks to my schoolmates, especially Lynn, for making this experience so much more enjoyable. iii TABLE OF CONTENTS LIST OF TABLES ........................................................................................................................ v LIST OF FIGURES ..................................................................................................................... vi INTRODUCTION ........................................................................................................................ 1 METHOD .................................................................................................................................... 10 RESULTS .................................................................................................................................... 17 DISCUSSION .............................................................................................................................. 21 APPENDICES ............................................................................................................................. 26 APPENDIX A: Pretest and Post-test ……………………………………………………….. 27 APPENDIX B: Chromatography of Ink .................................................................................. 33 APPENDIX C: A Chemical Change: Paint a Fresco .............................................................. 37 APPENDIX D: Henna ............................................................................................................. 40 APPENDIX E: UV Blue Print Design .................................................................................... 42 APPENDIX F: The Number of Particles in a Chalk Drawing ................................................ 45 APPENDIX G: Creating a 3-D Model of the Periodic Table.................................................. 47 APPENDIX H: Cool Light ...................................................................................................... 50 APPENDIX I: Acids and Bases .............................................................................................. 53 APPENDIX J: Quizzes ............................................................................................................ 57 APPENDIX K: Student Survey on The Chemistry of Art Activities....................................... 63 APPENDIX L: Assent/Consent Form ..................................................................................... 65 BIBLIOGRAPHY  ................................................................................................................................  68   iv LIST OF TABLES Table 1: Course Overview ............................................................................................................ 11   Table 2: Averages for the 13 students on pretest, quizzes and post-test, n=10 ............................ 17   Table 3: Averages for 8 students' survey on the art activities, scored 1-5, 5 being high .............. 19 Table 4: Acids and Bases ………………………………………………………………………. 54 Table 5: Survey ……………………………………………………………………………........ 64 v LIST OF FIGURES Figure 1: Graph of the 13 students pretest and post-test results ................................................... 18 Figure 2: Pretest/Post-test ……………………………………………………………………… 28 Figure 3: Paint a Fresco ……………………………………………………………………....... 38 Figure 4: Cool Light ……………………………………………………………………………. 51 vi INTRODUCTION One of the most difficult aspects of teaching is finding ways to engage students, not only gaining their interest but to tie that to sound science. Additionally, difficulties arise if the material is too demanding, or watered down science that doesn’t provide the necessary depth of knowledge (Kelly, Jordan, & Roberts, 2001). The integration of art and science has provided a number of educators a way of sparking students’ interest, showing how science is found in every day experiences and giving students a personal connection to the science (Shapiro, 2010). Art is a subject with a natural, almost universal appeal rich in science and mathematics (Kelly, Jordan, & Roberts, 2001). Some high school and middle school teachers using STEM (Science, Technology, Engineering and Math) curricula are adding an A for Art in STEAM. Adding art is eliciting a wider range of student responses and participation. Having an artistic representation of students’ ideas and solutions is a way to make learning personal (Shapiro, 2010). In 2004, twenty-four high school teachers from across the United States participated in a professional development program to field test an Artist as Chemist unit. The problem based model challenged students to create an original artwork and describe the chemistry principles involved in their work. These teachers found the students’ work resulted in correctly explained chemical concepts and artistic works that were both original and creative. Perhaps most importantly it provided an opportunity for all students to succeed. They became an artist because of their chemistry knowledge and became a chemist because of their need to understand materials and their interactions (Eisenkraft, Heltzel, Johnson, & Radcliffe, 2006). This integration is taking place at the college level as well. The Mellon College of Science and the School of Art offered a joint course designed to have students use chemistry to create art. Students learned that the 1 distance between chemist and artist increased when mass-produced and marketed art materials became available in the nineteenth century. This course brought the two fields back together and allowed the students to gain an appreciation for the difficulties and pleasures of both and to use their chemistry skills in an experimental and creative way (Pavlak, 2006). Chicago’s Columbia College has a requirement that students take a semester long course that integrates science or math and art. Students are expected to use their talents and express creatively their understanding, wonder about or criticism of any math or science concept, its impact and its implication (Papacosta & Hanson, 1998). At the Wiley H. Bates Middle School in Annapolis, Maryland art has been integrated through all subjects. The school has developed a program that merges arts standards with core curricula to build connections and provide engaging content. They decided to become an arts integrated school as the primary initiative in a whole-school reform (Nobori, 2012). In the Philippines a study by the National Institute for Science and Mathematics Education Department that took place in 2011 determined the effects of an artbased chemistry class on high school students’ understanding, using a control group of students being taught the same material without these art activities. By use of a pre-test and post-test their research showed that those students doing art-based chemistry activities showed a significant increase in understanding over those students not participating in the art activities (Danipog & Ferido, 2011). Based on these courses in other schools the question becomes: will art-based lessons with students at Mott Middle College High School lead to increased student understanding and retention of core chemistry concepts as measured by a pre-and post test? Mott Middle College High School is a middle /early college that was established 22 years ago. Currently students are required to commit 5 years to their high school education and earn a minimum of 15 college 2 credits to graduate from high school. Students apply to the school by attending an informational meeting with a parent or guardian, taking a placement test and interviewing with a school counselor. In the 2013-14 school year Mott Middle had a population of 371 students, 140 males and 231 females. The majority of the students, 79%, qualified for free or reduced lunch. Most (78%) were designated as minority students with 77% coming from the city of Flint and the other 23% from other Genesee County schools. It is expected that using art-based activities with the students from Mott Middle will • improve learners’ visual perceptions to more accurately form mental models of science concepts. • allow abstract concepts to be represented in concrete terms. • motivate students by increasing their interest, connecting science more effectively with their personal and cultural lives. • provide differentiated instruction, reaching more learners. • enhance the students’ working memory with increased attention and engagement. To increase students’ understanding of new content teachers need students actively processing the content. One of the methods for doing so is providing situations for students to form nonlinguistic representations such as making physical models and drawing pictures. Research results for nonlinguistic representation show significant gains in students’ understanding and recall of information (Marzano, 2007). It has been shown in brain-based research that teaching practices that are used with art integration improve comprehension and long-term retention (Presidential Committee on the Arts and the Humanities, 2008). By creating stories, pictures and other nonverbal expressions of content, a process called elaboration, students are better embedding the information (Nobori, 2012). A neuroanatomist in the United 3 States, Marion Diamond, states that brain growth is the result of interacting with enriched environments characterized by novel changes, stimulation of all the senses and opportunities for free choice and self-direction (Barell, 2003). Learning new subjects and exploring different challenges stimulates the brain well into maturity (Wolf & Brandt, 1998). By integrating art into science students have the opportunity to use their senses, have choices in the art they create and experience the changes that matter undergoes in the creation of their art. Cognitive psychologist Richard Mayer has explored the link between multimedia exposure and learning and found that groups in multisensory environments always do better in accurate recall and demonstrate more creative solutions on problem solving than in unisensory environments. In some cases the improvement in recall and problem solving activities was as high as 75%. The more visual the input becomes the more likely it will be recalled. When information is presented orally, 72 hours later people recall about 10%. If a picture is added they remember 65%. The more elaborately people can encode what they encounter, especially if it can be personalized, the better they remember (Medina, 2008). By linking a chemistry concept with an art project students will have a multisensory and personal experience that will help them remember the scientific ideas. In today’s world of fast paced video games and instant answers from Google it can be a challenge to engage students in the classroom. Researchers and theorists have different definitions of engagement, from participation to time on task. It may be best described as, “When engagement is characterized by the full range of on-task behavior, positive emotions, invested cognition, and personal voice, it functions as the engine for learning and development.” (Marzano, 2007). For any of this to occur the student must be paying attention. The more the brain pays attention, the more elaborately the information will be encoded, thus enhancing retention. Researchers have shown interest is inextricably linked to attention (Medina, 2008). In 4 addition research has shown that across individuals and subject areas, interest has a powerful effect on cognitive functioning. Theorists suggest that interest may be the important first step in learning and later to differentiate between those expert and moderately skilled. Researchers recognize two types of interest, individual and situational. Individual interest is something that develops over time in relation to a particular topic and comes from increased knowledge, value and positive feelings. Obviously, individual interest is a determinant of academic learning but little is known about how such interests develop, why some early interests lead to long term interests or how to best utilize students’ individual interests. Situational interest is a result of certain conditions in the environment that focus attention, leading to a more immediate reaction that may or may not last. When situational interest continues over time due to increased knowledge, value and positive feelings, it may make a significant contribution to the motivation of students. Situational interest can contribute to the development of long-lasting individual interest. Teachers have little to no influence over individual interests that students bring to the classroom but they can influence the development of such interests by fostering situational interest. When students become engaged in academic tasks there is a chance that genuine interest and even intrinsic motivation will result (Hidi & Harackiewicz, 2000). Novelty stimulates the brain and can stimulate situational interest. Because adolescents are especially influenced by our fast paced world it makes sense to provide unique experiences to reengage them (Wormeli, 2007). Integrating art into chemistry is a novel experience, one that should capture their initial interest. It is expected that over the course of The Chemistry of Art class, this situational interest will develop into individual interest. Some students will come to the class already having an interest in art and some will come with an interest in science. By integrating the two, each of these separate groups will have the opportunity to learn new concepts from and appreciation for 5 each of these areas. Specifically for The Chemistry of Art it is believed that expressing chemistry aesthetically will provide a way to enhance students’ interest in chemistry and encourage them to be further engaged in the discipline (Danipog & Ferido, 2011). Artists must study and understand the properties of the materials they use to create their art, thus artists are chemists (Eisenkraft, Heltzel, Johnson, & Radcliffe, 2006). Like artists, scientists should feel free to express their emotional appreciation of the miracles of nature without others questioning their objectivity. Imagination is crucial to both science and art. Einstein is quoted as saying “Imagination is more important than knowledge.” Imagination provides the drive for both the artist and the scientist to explore and experiment. The physicist Robert Oppenheimer in a speech at the Columbia University Bicentennial Anniversary celebration in 1954 said: Both the man of science and the man of art live always on the edge of mystery, surrounded by it; both always, as the measure of their creation, have had to do with the harmonization of what is new and what is familiar, with the balance between novelty and synthesis, with the struggle to make partial order in total chaos. (Papacosta & Hanson, 1998). Science and art are both quests to examine and explain the world. Curiosity, creativity, imagination and attention to detail are common to artists and scientists and driven by the desire to discover things about one’s world. Both rely on observing, asking questions, seeing patterns and constructing meaning (Shapiro, 2010). With so much in common the integration of art and science is logical in that they compliment one another. In today’s educational system knowledge is divided into disciplines. Traditional instruction typically breaks complex concepts into parts, teaching students in stages. Once the various parts are taught the student then must piece these together to see the whole picture. A focus on the parts result in lack of clarity of the whole and a focus on the whole may result in 6 missing the intricacy of the parts. What is needed is a balance. The assertion in interdisciplinary studies programs, like art and chemistry is that visual and performing arts contribute to a students’ success because they develop the intellectual skill of interconnectedness between the whole and the parts. Integrated courses allow thinking to occur in several ways. It also provides thinking strategies for inquiry, analysis and understanding, pushing students toward discovering universal principles between isolated facts. Interdisciplinary studies remove the overspecialization of science while teaching interconnected thinking (Hull, 2002). Integration allows students to improve memory by having multiple references for a concept. By creating a model they have a visual interpretation to help reinforce and explain concepts. By having art and science be the integrated subjects goes even further. Scientists and artists use the same processing skills of engaging curiosity, asking questions, making observations, looking for patterns and constructing meaning. Both have been and continue to be ways to examine and explain the world. Curiosity, imagination, creativity and attention to detail are traits common to artists and scientists (Shapiro, 2010). Curiosity fuels imagination, which is the basis for creativity that drives the artist and the scientist to explore, experiment, synthesize and to take knowledge to a new frontier (Papacosta & Hanson, 1998). The National Science Education Standards state that students should understand the relationships between form and function while the National Standards in Art Education state that students should integrate form and function in making connections to other content areas in representing art and design principles. Artist and scientists practice standard procedures using precise terminology in their communications with peers and the public. They also practice observation skills that are the core of their work, design experiments (approaches) to test their hypotheses, use prior knowledge to inform their current work, follow standard protocols in their experimentation and reflect on their 7 product before presenting it to others (Medina-Jerez, Dambekains, & Middleton, 2012). As artists study and understand the properties of the materials they use and find ways to use these materials to express themselves, they become chemists as well (Eisenkraft, Heltzel, Johnson, & Radcliffe, 2006). Art and science have been integrated throughout the ages, most notably in the past by Da Vinci from his anatomical drawings to those of flying machines that closely resemble modern helicopters. During the Renaissance period artists conducted experiments with pigments. Even earlier smelting practices combined with art to create ancient bronze figures and jewelry. In the late nineteenth century an art and science interdisciplinary approach called the ‘Nature study’ was established in which students made accurate observations and sketches while studying objects, organisms and processes they found in nature (Medina-Jerez, Dambekains, & Middleton, 2012). Two current examples of people who have combined art and science are Diana Dabby and Steven Kurtz. Diana Dabby is an electrical engineering and music professor at Olin College. She began as a pianist who went back to college and eventually onto graduate school at MIT. Her doctorial thesis centered on the question: How could music come from chaos? She developed a mathematical theory that produced an unlimited number of musical variations from a single source (Edwards, 2008). Steven Kurtz is an artist and Professor of Art at SUNY Buffalo. Steven Kurtz’s work incorporates bio-art. Bio-art involves using live tissues, bacteria and living organisms (Pasko, 2007). His work included an exhibit about genetically modified agriculture for the Massachusetts Museum of Contemporary Art. Perhaps future artists will influence public perceptions of science. One photo, painting, sculpture poem, film or article may transform the public image of science more than the work of many scientists (Papacosta & 8 Hanson, 1998). Perhaps this will occur if we recruit artists that have seen how closely science and art really are by incorporating the two (Laszlo, 2003). 9 METHOD The implementation of this course took place during the Spring Semester at Mott Middle College High School. The Spring Semester was a very short time period of only five and one half weeks. The class met for approximately 90 minutes a day. The students enrolled in the course had unsuccessfully taken a 16-week Chemistry class earlier in the year using instructional methods such as text book reading, note taking, lecture, traditional laboratory activities and in class practice worksheets. Thus this class, The Chemistry of Art, was for credit recovery. Students were in the 4th or 5th year of a five-year program. Of those students in their 5th year this class was required for June graduation. Three of the twenty students enrolled in the class were 5th year students. These three were part of the group of thirteen students that gave consent/assent (Appendix L) to participate in data collection for the class. In addition to the previous chemistry class, students had completed biology and physical science. Some had also taken a physics class. Students were given a pretest (Appendix A) one of the first days of class. Six concepts were covered at an introductory level consistent with high school content expectations. They included: Matter, the Atom, the Periodic Table, Bonding, Chemical Reactions, Acids and Bases. Each of the concepts incorporated an art activity, or in the case of the Periodic Table, the construction of a model. Videos, short lectures, worksheets, construction of concept maps and class discussions were also part of instruction. Table 1 below is the course overview illustrating the topics covered, the objectives to be met for each topic and the art activity that was incorporated with each topic. 10 Table 1: Course Overview Topic Matter Days 1-5 Atom 5-13 Periodic Table 14-16 Bonding 17-20 Chemical Reactions 20-22 Acids and Bases 23-26 Objectives Distinguish between chemical and physical changes/properties. Distinguish between elements, compounds and mixtures Identify the parts of the atom, their location, and relative charges. Use the atomic number and mass number to determine the number of protons, neutrons and electrons. Identify an element from its number of protons. Describe what occurs when ions form. Determine the molar mass of a compound. Calculate the number of moles in a sample. Relate similar chemical and physical properties to placement on the periodic table and valence electrons. Classify elements based on their location. Write electron configurations using the noble gas notation. Predict oxidation states for elements from placement on the table. Predict if bonding between two elements will be ionic or covalent. Name and write formulas for binary molecules. Name and write formulas for ionic compounds with representative elements. Explain why ionic solids have higher melting points than covalent solids. Identify and model the five basic types of chemical reactions. Describe a photochemical reaction. Predict products of an acid-base reaction. Describe tests to distinguish an acid from a base. Classify solutions as acidic or basic given the pH. Explain why acids and bases are electrolytes. 11 Art Activity Chromatography Fresco Henna UV Blue Print Chalk Drawing 3-D Model of the Periodic Table Cool Lights Acids and Bases In the first unit matter was the main topic. Students learned the differences between substances, mixtures, physical changes and chemical changes. The activities incorporated into this unit were Chromatography, Painting a Fresco and Henna. In Chromatography (Appendix B) students learned that many types of ink are a mixture and those that are watersoluble may be separated by water, while those that are “permanent” may be separated by isopropyl alcohol. Polarity and size of molecules were discussed to help explain why some colors of ink moved further along the paper. Through viewing video, students observed different types of chromatography. Real life uses of chromatography in industry, air quality control and forensic science were part of class discussion. In the laboratory students observed how different ink from the marker moved on coffee filter paper, discovering which were pure pigments and which were mixtures of different colors. They used this knowledge, a lesson on the color wheel and the rule of thirds to make their own abstract art piece on a coffee filter using water-soluble markers. Many enjoyed the process so much they created multiple pieces. Painting a Fresco (Appendix C) was done to illustrate chemical change. Students created a fresco using Plaster of Paris and tempera paints. A brief lesson on the chemical makeup and history of Plaster of Paris was included along with background information on frescos. Students were able to detect that a chemical change occurred with the generation of heat, one of the common indications of chemical change, as the calcium sulfate reacted with the carbon dioxide in the air. They learned through trial and error the importance of not spreading their plaster too thin and that mixing the paint with the plaster did not allow for sharp detail. A trip to the Flint Institute of Art allowed them to see a fresco and an art piece done by Helen Frankenthaler, who used a painting technique similar to the process of chromatography. 12 Henna (Appendix D) art as temporary tattooing was used to reinforce the concept of physical change. Students were shown how henna enters the top layers of the skin as a stain. Background information regarding henna’s history, uses, chemical composition, and natural sources was included. After viewing a number of designs and a video showing the basic technique of applying the henna paste students tattooed their own design on their hands and arms. Some were more aesthetically appealing than others and some stained the skin longer than others but most enthusiastically participated. It is often difficult by observation alone for students to distinguish between physical and chemical changes. All three activities, Chromatography, Fresco and Henna reinforced that fact. UV Blueprint Design (Appendix E) tied in chemical changes and ions as part of the unit on the Atom. Along with the simple components of the atom (proton, electron and neutron), how atoms become ions and the formation of ions to increase stability was discussed and practiced through a number of assignments. Students learned that a photochemical reaction is a chemical change that requires UV radiation to occur. They made UV sensitive fabric using iron salts, which provided iron ions that resulted in the formation of Prussian blue when exposed to UV radiation. Prussian blue is a dark blue color as a result of the iron(II) and iron(III) ions in the compound Fe4(Fe(CN)6)3.H2O. Then they created a design that ranged simply from their name to quite beautiful arrangements of found objects, from flowers to metal washers that were placed on the fabric. When the fabric was exposed to sunlight no reaction could take place in those areas covered by the objects. Exposed areas turned blue as the reaction occurred. Despite a somewhat overcast day the reaction worked as expected. In this class the topic of the mole was introduced, not having been part of the original 16week Chemistry course. The mole was presented first as a way of counting and compared to a 13 dozen, gross and ream. Then the relationship to the mole and molar mass was established. Students practiced finding the molar mass of elements and compounds and using the molar mass to determine the number of moles in a sample. In Creating a Chalk Drawing (Appendix F) students created a high contrast portrait using black paper and colored chalk. With out specific directions they needed to determine what to measure and how to calculate the number of molecules used in their piece of art. They were able to determine the number of calcium sulfate molecules used in their portrait from the mass of chalk. Although the value they obtained was probably very inaccurate the experience of calculating the value was significant. Many had difficulty reflecting on why this was such a large number. During the unit on the Periodic Table students reviewed periods, key families, the location of metals, nonmetals, metalloids, representative elements, transition elements, and inner transition elements by coloring and labeling a periodic table. They also practiced writing electron configurations using the noble gas configuration and predicting the number of valence electrons. In Constructing a 3-D Model of the Periodic Table (Appendix G) they made a three dimensional model that allowed them to see the s,p,d and f blocks and their relationship to the electron configuration. It also provided a better visualization of where the inner transition metals actually fit into the periodic table. For some students following written directions in the construction of the 3-D model was a challenge but all were successful and able to use the model to answer questions about the elements. Throughout the course the idea that atoms will lose, gain or share electrons to become stable had been emphasized. This led to the topic of ionic and covalent bonding. To distinguish between ionic and covalent compounds a demonstration of the conductivity of tap water, distilled water, salt water and sugar water was performed. The ability of similar amounts of salt and sugar 14 (a teaspoon of each) to dissolve in water was also noted. Students’ questions and responses indicated that they were engaged in the demonstration. Placement of the elements on the Periodic Table with their ability to lose, gain or share electrons was reviewed. Naming of some simple ionic and covalent compounds was introduced to some students for the first time. The task of balancing ionic charges made writing chemical formulas difficult for most. Much more time would have been required for them to become competent in this skill. Writing formulas and naming covalent compounds proved to be much easier for the students. Types of chemical reactions is another topic that is not covered in the 16-week Chemistry class but is introduced in Physical Science during the students’ first year of high school. After viewing a video using the Flintstones to model the five basic types of chemical reactions students developed their own models. Many were very creative, using Pac Man and Ghost, to articles of clothing, to geometric shapes. All were able to demonstrate understanding of the patterns that describe these types of chemical reactions and how they can be used to make predictions of possible products. In Cool Light (Appendix H) glow sticks were used to illustrate a chemiluminescent reaction. Students were given information about the reaction that occurs when the inner tube of Cyalume, diphenyl oxalate, is broken and mixes with the outer tube that contains hydrogen peroxide and a dye. The oxygen atoms in the peroxide break resulting in a great deal of energy that causes the dye molecule to fluoresce. As an illustration students were able to view the reaction occurring outside the tube. Using slow shutter speed photography students created some incredibly interesting photographs moving their glow sticks in various patterns around the dark classroom. Acids and Bases (Appendix I) were the last unit of instruction. This topic was also first introduced in Physical Science but not covered in the 16-week Chemistry course. The topic was 15 limited to the Arrhenius definition of an acid and a base in which common properties of acids and bases were presented. In the laboratory students tested six known solutions and four unknowns with cabbage juice indicator, litmus paper and phenolphthalein. They were able to accurately determine if each of the ten solutions was an acid or a base. Their ranges of pH were generally acceptable for each of the ten solutions. They were also able to infer which indicator would be most useful with a variety of solutions. Students were shown a variety of pictograms and symbols used in the past and by different cultures for communication. They were encouraged to use one or more of these symbols to reflect something personal about them. Using dropper bottles they applied one or more of the previously used ten solutions to construct the symbol onto acid free tissue paper. They then sprayed the tissue paper with cabbage juice indicator to achieve the desired color palette. Only a few were truly creative, instead opting to draw such things as their initials, hearts and flowers! The tissue paper allowed the solutions to considerably spread. Using acid free card stock would likely result in more distinct lines and shapes. The descriptions given are focused on the art aspect of the class. As previously mentioned short lectures to introduce or reinforce topics, class discussions for clarification, construction of concept maps to unify topics, and worksheets for practicing skills were all part of instruction. Approximately once a week students were given a quiz (Appendix J) to assess their understanding of that weeks’ lessons. At the end of the course they took the post-test (Appendix A), which was the same as the pretest. 16 RESULTS Of the twenty students enrolled in the course The Chemistry of Art, thirteen gave assent/consent to participate in the data collection. Comparisons between pre and post-test scores were made as well as quiz scores. In addition an analysis of a class survey (Appendix K) was conducted. Table 2 illustrates the scores for the pretest, quizzes and the post-test. Table 2: Averages for the 13 students on pretest, quizzes and post-test, n=10 Student Pre-test Quiz I Quiz II Quiz III Quiz IV Quiz V Post-test 37 questions 60 possible points 9 questions 18 possible points 9 questions 15 possible points 8 questions 8 possible points 7 questions 14 possible points 7 questions 10 possible points 37 questions 60 possible points 85% 68% 1 12% 2 38% 67% 87% 75% 3 15% 75% 77% 75% 4 17% 83% 120% 63% 5 11% 53% 60% 6 100% 78% 70% 79% 50% 98% 29% 90% 72% 63% 82% 7 16% 53% 93% 88% 68% 70% 84% 8 13% 61% 67% 38% 82% 75% 75% 9 21% 61% 73% 38% 50% 65% 84% 10 9% 72% 80% 50% 57% 70% 83% 11 12 8% 97% 67% 107% 87% 100% 63% 54% 90% 88% 92% 13 17% 58% 93% 63% 57% 90% 90% 16% 69% 86% 65% 64% 76% 82% Average 17 Figure 1 shows the pretest and post-test scores for the 13 students who gave assent/consent. Figure 1: Graph of the 13 students pretest and post-test results 120%   100%   80%   Pretest   60%   Post-­‐test   40%   20%   0%   1   2   3   4   5   6   7   8   9   10   11   12   13    Student  Number   The pre and post-test were identical and consisted of 37 questions with 60 possible points. Students were asked to identify, describe, explain and name. Each of the six units was represented on the test. Each of the quizzes (Appendix J) generally consisted of questions taken from the pretest that were addressed that week in class. Quiz I dealt with the unit on Matter, Quiz II with the Atom, Quiz III with the Periodic Table and the Mole. Quiz IV was an exception. This quiz included questions on ionic and covalent bonding and types of chemical reactions. Types of chemical reactions were not part of the pretest and not one of the topics intended to be included in the course. With time permitting it was added and Quiz IV in part assessed students’ understanding. The last, Quiz V, assessed students understanding of Acids and Bases. Of the thirteen students only ten took both the pretest and the post-test, giving ten complete pairs. Paired Student’s t-Test (n=10 pairs) comparing the pre and post-test showed that the values are significantly different and not due to chance, with p=0.000. The pretest and posttest did not have any multiple choice or true/false questions and students trying to answer the questions spent little time. Students’ pretest scores were similar with a standard deviation of 18 8.54%. Students made significant improvement on the post-test and again their score were similar as shown by a 8.91% standard deviation. Quiz scores were not nearly as consistent but in general students made improvements over the pretest scores with the exception of student 11 who did not take the pretest and who had higher quiz scores than post-test score. Student 2 made progress from pretest to the quizzes but little progress after that. Student 6 also did not take the pretest and Student 1 did not take the post-test nor complete the class. After each activity students were asked to reflect and rate each activity on a scale of 1-5, with 5 being the highest, in four categories: Collaboration, Thinking, Interest, and Learning. Collaboration was described as working cooperatively with others and/or actively participating. In Thinking students were asked to reflect on whether the activity was mentally engaging. With Learning they were asked to rate how well the activity helped model the topic in a way that helped their learning. Only eight of the 13 consenting students turned in the survey. Table 3: Averages for 8 students' survey on the art activities, scored 1-5, 5 being high Activity Fresco Chromatography Henna UV Blueprint Chalk Drawing Collaboration 4 4.2 3.4 4.7 4.8 Thinking 4.2 3.9 3.9 4.3 4.5 Interest 5 4.1 4.1 4.6 4.1 Learning 4.8 4.2 4.4 4.6 4.8 Model of Periodic Table Cool Lights Glow sticks Acids & Bases 4.8 4.2 3.5 4 4.4 4.4 4.6 4.7 4.2 4.2 4.2 4.2 Students that responded to the survey were most interested in one of the first activities, the fresco, representing a chemical change. They were the least interested in constructing the 3-D Model of the Periodic Table. The Chalk Drawing, finding the number of particles of chalk used 19 in a portrait required the most thinking and learning. They appeared to have the most fun with the Glow sticks and this activity received one of the highest scores in the Interest category. Based on the pretest and post-test scores 10 students showed a significant increase in understanding of the chemistry. All students showed improvement from pretest to all quizzes, thus indicating student growth took place. All of the students earlier this year during a previous semester failed the course but after this class 12 of the 13 participating students earned a passing grade of 70% or greater. 20 DISCUSSION It was proposed that integrating chemistry and art would improve students’ understanding of chemistry concepts for students who had not previously been successful in a 16-week Chemistry course. By comparing pretest and post-test scores (Table 2) it was determined that students made connections between chemistry and art that promoted understanding of chemistry concepts. The student survey shows that art acted as a motivator in students’ interest and learning. Art provided a visual framework that allowed students to form a mental model and to represent abstract concepts in concrete terms. Motivated students had increased engagement and attention that fostered learning. Integrating art and chemistry provided a way to differentiate learning, teaching in a way that best allowed students to learn. The 16% pretest average may not have been a true measure of student knowledge. In the past students have attempted to answer multiple choice test questions but generally leave short answer and problem solving questions unanswered. This test had no multiple-choice questions. This and the observed short time period students spent on the test indicated that not much effort was made. Never-the–less, none of these students had previously passed the chemistry course and it may be inferred, had limited knowledge. The post-test average of 82% was a significant improvement compared to the pretest. In addition, the small range in scores indicates that all 10 of the students taking the post-test had gained understanding and knowledge of the material. Upon reflection the test could be improved by including more questions that required synthesis and other higher order thinking skills rather than merely recall. It may be argued that students were more motivated to pass the class after previously having been unsuccessful. One could also say they were more likely to be disinterested and 21 unengaged due to their previously poor experience. Doing the art projects proved to be engaging for the students. This class showed that becoming engaged in a task resulted in interest and motivation (Hidi & Harackiewicz, 2000). Interest and motivation are linked to attention, a necessity for learning to take place. It was important to present the material in a different way than had previously been done. Nonlinguistic representation has been shown to improve students understanding and recall of information (Marzano, 2007) and when creating pictures and nonverbal representation students are better at learning the information (Nobori, 2012). Therefore, having the students make an art piece that represented a chemistry concept helped them understand and recall that concept. Incorporating art allowed for an additional method of instruction using engaging tasks that included nonlinguistic representation. It was emphasized in all the art projects that experimentation was taking place, never knowing exactly what might be the final result. In both science and art the participant designs the experiment using prior knowledge, follows standard protocols during the experiment and then reflects on the product. This allowed students to see that following a procedure is not limited to the discipline of science. The integration of science and art also allowed the student to see how they can be creative in both disciplines. In addition to being creative their products were personal. The more personalized the exposure the better it is remembered (Medina, 2008). In the Chromatography, Fresco and Henna art projects students were able to make personalized and creative projects while learning the differences between physical and chemical changes. Most often at the beginning of any chemistry course students describe a chemical change merely as one that cannot be changed back. They also may believe that a color change is proof of a chemical change. The art activities provided examples that a color may be an 22 indicator, not proof, of a chemical change. They also illustrated that it can be difficult by observation alone to determine if a chemical reaction has occurred. All three activities offered opportunities to show how the science concepts can be found in real life situations, making the concepts more relevant. More time should have been given for Chromatography to allow for more reflection and discussion on the Rf values. In UV Blue Print Design students again made a creative, personalized piece of art. In addition they learned a little about photography and photochemical reactions. Discussions took place about how lenses work, including how the lens in the eye functions. These were discussions that enriched the chemistry concepts. With more time allowed students could make their own solutions for the experiment in the laboratory, thus having an opportunity to practice measuring solids and liquids. One of the topics not covered in the original 16-week course was the mole and molar mass. In The Number of Particles in a Chalk Drawing students were able to make a concrete piece of art to represent an abstract concept. This activity was inquiry based in that no specific directions were provided. With very little prompting students were able to determine that the difference in mass of the paper before and after they drew the picture would provide the mass of the chalk. Most required some help with the mathematics of converting this to moles of chalk and then to particles of chalk. This very concrete activity provided an excellent introduction to the more abstract concept of the mole and the number of particles in a sample. Their limited comprehension of numbers written in scientific notation and even decimals, limited their understanding of the significance of this very large number. A brief discussion and review of the use of scientific notation would have been of benefit. 23 There was no creative aspect to Creating a 3-D Model of the Periodic Table but having a three dimensional model did allow students to better understand how the inner transition elements fit into the periodic table. It also allowed them to see that the table doesn’t start and stop as one goes from one period to the next as it appears in the common two-dimensional table but rather continues smoothly from one element to the next. The color gradient on the model served to show which elements had similar properties and how they varied from one group to the next. The model was useful when writing electron configurations using the noble gas method. In Cool Light students again were able to be creative and make a unique photographic image. Using a toy they had all played with in the past, learning the chemistry behind it and then making something creative allowed the students to form connections between the chemistry and their lives. This resulted in the learning being more personalized and better remembered. This unit could have been improved by initially giving the students time to ask their own questions about the glow sticks and have them then conduct an experiment to answer one of their questions. In Acids and Bases students took part in a traditional laboratory experience, finding the color of a number of known and unknown solutions when using three different acid-base indicators. They used that information to determine the pH of each of the solutions. Students were able to see the limitations in determining pH when using an indicator. They were then able to make it more personalized and to apply what they had learned to make a piece of art. This visual provided another way for them to recall what they had learned about acids and bases and their pH values. In place of the tissue paper using a less absorbent paper would result in a sharper image. 24 By incorporating art into the chemistry class students were able to make visuals that helped them recall the chemistry information. In addition they were able to connect abstract concepts to concrete images that improved their understanding of the chemistry material. Perhaps the most significant benefit was that using art was a novel idea that intrigued and interested the students. Students don’t learn if they’re not paying attention. Including the art provided a way to grab their attention. By incorporating art the required chemistry concepts were taught in a different way, a differentiated approach. The Chemistry of Art class was a success and should be used again for the Spring Semester credit recovery class. 25 APPENDICES 26 APPENDIX A Pretest and Post-test                                                                           27   Figure 2: Pretest/Post-test The  Chemistry  of  Art         Name  _____________________   Pre-­‐test/Post-­‐test     1. Identify  each  of  the  following  as  a  physical  or  chemical  change   a. Wax  melting   b. Silver  tarnishing   c. Banana  rotting   d. Water  evaporating         2. Identify  a  physical  and  a  chemical  change  that  you  could  do  to  a  piece  of  copper.             3. What  are  some  indications  that  a  chemical  change  has  taken  place?             4. Distinguish  between  an  element  and  a  compound.         5. Distinguish  between  a  substance  and  a  mixture.         6. Distinguish  between  a  heterogeneous  and  homogeneous  mixture.           7. Describe  a  mixture  and  how  to  separate  it.                   8. Which  of  the  following  is  not  an  alloy:  brass,  bronze,  tin,  or  stainless  steel?  Explain   your  choice.   28 Figure 2 (cont’d)   9. Use  the  terms  element,  compound  and  mixture  to  describe  the  composition  of  each  of   the  figures  below:   a.   b.       c.                           10. Define  an  atom.   11. How  can  atoms  contain  charged  particles  and  still  be  neutral?                           12. What  holds  electrons  within  the  atom?   13. What  particles  are  found  in  the  nucleus?   14. An  atom  of  chlorine  with  the  atomic  number  of  17  has  an  atomic  mass  number  of  35.   Determine  the  number  of   a. protons   b. electrons   c. neutrons       15. What  is  the  relative  charge  on  the   a. proton   b. electron   c. neutron         29 Figure 2 (cont’d) 16. What  element  does  this  Bohr  model  of  the  atom  below  represent?                                       17. An  element  has  similar  chemical  properties  as  fluorine  and  chlorine  with  an  atomic   number  greater  than  calcium  and  less  than  krypton.  Use  the  periodic  table  to   identify  the  element.   18. Select  something  that  displays  repeating  properties.  Describe  it  and  explain  how  it   corresponds  to  the  periodic  law.   19. Why  do  elements  in  the  same  group  have  similar  properties?   20. Using  the  periodic  table  classify  each  of  the  following  as  a  representative  element,   transition  element,  an  inner  transition  element  or  a  noble  gas:   a. Aluminum   b. Magnesium   c. Argon   d. Cerium   e. Titanium   21. Atoms  may  form  positive  and  negative  ions.  Describe  what  occurs  when  each  type  of   ion  is  formed.     30 Figure 2 (cont’d) 22. In  the  reaction  Mg  +  S  →  Mg2+  +  S2-­‐  which  atom  gained  electrons  and  which  atom   lost  electrons?           23. Is  the  atom  below  more  likely  to  gain  or  lose  electrons?  Explain  how  you  know.         24. A  formula  unit  of  calcium  bromide  has  2  bromide  ions  corresponding  to  each   calcium  ion  in  the  compound.  What  is  the  formula  for  calcium  bromide?         25. The  melting  point  of  sugar  is  much  lower  than  the  melting  point  of  salt.  Which  is  an   ionic  compound?  Explain  how  you  know.               26. In  the  chemical  equation  2H2  +  O2  →  2H2O  which  is(are)  the  reactant(s)?   27. A  mole  is  an  amount  equal  to  Avogadro’s  number.  What  is  the  value  of  this  number?               28. What  is  the  molar  mass  of  H2O?   29. How  many  moles  of  copper  atoms  are  in  63.5  grams  of  copper?   30. Do  samples  A  and  B  below  contain  the  same  number  of  moles  of  atoms?  Explain   your  answer.   31 Figure 2 (cont’d)                                     31. What  is  a  photochemical  reaction?   32. Why  are  photographic  and  blueprint  chemicals  stored  in  dark  bottles?   33. Complete  the  following  statements  about  acid-­‐base  pH  values:   a. The  pH  scale  ranges  from     b. An  acid  has  a  pH     c. A  base  has  a  pH               34. Name  two  properties  of  an  acid.   35. Name  two  properties  of  a  base.               36. What  are  the  products  of  a  reaction  between  an  acid  and  a  base?   37. Why  do  acids  and  bases  conduct  electricity  when  dissolved  in  water?         32   APPENDIX B Chromatography of Inks                                       33   Chromatography  of  Inks           Name  ______________________   Background  Information:     Chromatography  is  a  process  used  to  separate  mixtures.  More  than  150  years  ago  workers   would  test  the  strength  and  quality  of  a  dye  using  chromatography.  Today  the  technique   may  be  used  to  determine  the  ingredients  in  a  particular  flavor  or  scent,  test  for  the   presence  of  a  drug  in  the  blood  or  isolate  air  pollutants.  It  can  also  be  used  to  separate  and   purify  products  when  making  petroleum  jelly.       The  word  chromatography  comes  from  the  Greek  words  “khroma”  meaning  color  and   “graphein”  meaning  to  write  or  to  represent.  There  are  several  types  of  chromatography   but  in  all  cases  a  substance  is  placed  onto  or  into  a  medium  and  a  solvent  is  passed  through   the  test  substance.  The  solvent  is  called  the  mobile  phase  and  the  medium  is  the  stationary   phase.  High  Performance  Liquid  Chromatography  (HPLC)  can  separate  liquids,  and  gases   are  separated  by  Gas  Chromatography.     Paint  on  canvas  is  another  example  of  chromatography  where  the  paint  is  the  mobile   phase;  the  canvas  is  the  stationary  phase.  Often  when  artist  paint  on  canvas  they  treat  it  so   that  it  doesn’t  absorb  as  much  liquid.  Helen  Frankenthaler  used  the  absorbent  property  of   canvas  to  create  interesting  shapes  and  patterns.  She  would  pour  paint  onto  a  canvas   tacked  to  the  floor  and  let  the  way  the  paint  moved  help  decide  what  the  picture  would  be.     In  this  experiment  paper  or  cloth  is  the  medium  (stationary  phase),  the  test  substance  is   ink  and  the  solvent  (mobile  phase)  is  water  or  isopropyl  alcohol.   The  solvent  will  wick  up  the  medium,  mix  with  the  ink  and  carry  the  pigments  in  the  ink   with  it.  Ink  is  a  mixture  and  the  different  colored  pigments  will  be  carried  along  at  different   rates,  ending  up  in  different  places.  How  fast  each  pigment  moves  depends  on  the  size  of   the  pigment  molecule  and  how  strongly  the  molecule  is  attracted  to  the  medium  due  to   polarity.  The  separated  substances  produce  a  pattern  called  a  chromatogram.  To  determine   the  rate  of  movement  for  each  component  of  the  mixture  the  Rf  value  is  calculated.  The  Rf   value  can  be  used  to  identify  the  components  in  a  mixture  because  each  component  will   have  a  unique  Rf  value.     Rf  =  distance  traveled  by  the  component/  distance  traveled  by  the  solvent       Materials:   Permanent  ink  markers     Cotton  cloth   Washable  ink  markers     Pipette   Coffee  filters         Rubber  band   Paintbrush   Beaker   Skewer   Isopropyl  alcohol   34   Procedure:     Part  I     1. Choose  3  different  permanent  and  3  different  washable  markers.  Using  the  strips  of   coffee  filter  place  a  concentrated  dot  of  ink  just  above  the  pointed  end  of  the  strip.   With  a  pencil  mark  this  starting  point  for  measuring  the  migration  distance  of  each   color.  With  a  pencil  label  your  strip  with  the  type  and  color  of  the  marker.   2. Using  the  skewer  hang  the  strips  over  a  beaker  so  that  the  pointed  end  almost   reaches  the  bottom  of  the  beaker.   3. Run  a  test  with  black  ink  to  determine  which  solvent,  water  or  isopropyl  alcohol   should  be  used  for  the  two  different  types  of  ink,  washable  and  permanent.   4. Add  enough  of  the  proper  solvent  to  the  beaker  so  that  the  pointed  tip  of  the  strips   comes  in  contact  with  the  solvent  and  the  ink  dots  are  above  the  surface  of  the   solvent.   5. When  the  solvent  front  has  neared  the  top  of  the  strips  remove  the  strips  and  place   them  on  a  piece  of  paper  towel  to  dry.   6. Immediately  mark  the  solvent  front.   7. Immediately  mark  and  label  the  leading  edge  of  each  individual  color.   8. Measure  and  record  the  distance  the  solvent  migrated  from  the  starting  point  to  the   front.   9. Measure  and  record  the  distance  each  color  migrated  from  the  starting  point  to  the   leading  edge  of  that  color.   10. Calculate  and  record  the  Rf  value  for  each  color.       All  data  and  calculations  must  be  recorded  in  a  data  table.       Part  II     1. Place  a  coffee  filter  on  top  of  several  paper  towels.  Use  different  colors  of  washable   markers  to  create  a  design  or  pattern  on  the  coffee  filter.   2. Dip  the  paintbrush  in  the  water  and  paint  over  the  design  with  the  wet  brush.  Rinse   the  brush  in  the  water  several  times  while  you  are  painting  with  the  water.   3. Place  the  coffee  filter  on  a  paper  towel  to  dry.         Part  III     1. Stretch  your  cloth  over  the  beaker  and  keep  it  in  place  with  a  rubber  band.   2. With  the  permanent  markers  create  a  design  on  the  stretched  cloth.  Leave  some   space  between  colors.     3. Using  the  pipette  drop  isopropyl  alcohol  over  your  design.   4. Allow  your  cloth  to  dry.   35   Analysis:     Part  I   1. What  was  your  solvent  for  permanent  ink?  For  washable  ink?       2. Why  did  the  inks  separate?           3. Why  did  some  ink  colors  move  a  greater  distance  than  others?               4. Compare  your  Rf  values  with  two  other  groups.  Did  you  get  the  same  values?  Why  or   why  not?             Part  II     1. Identify  the       a. mobile  phase   b. stationary  phase   c. test  substance       2. Describe  how  this  activity  connects  to  the  process  of  chromatography.           Part  III     3. Identify  the       a. mobile  phase   b. stationary  phase   c. test  substance     2. Describe  how  this  activity  connects  to  the  process  of  chromatography.   36   APPENDIX C A Chemical Change: Paint a Fresco 37 Figure 3: Paint a Fresco A  Chemical  Change:  Paint  a  Fresco     Name  _____________________     Background:     Fresco  means  “fresh”  in  Italian.  Frescos  are  painting  done  on  a  thin  layer  of  wet  (fresh)   plaster.  Michelangelo  Buonarroti  painted  one  of  the  most  famous  frescos  on  the  ceiling  of   the  Sistine  Chapel  in  Rome,  Italy.       Gypsum  is  a  common  mineral,  with  thick,  extensive  evaporate  beds  found  in  sedimentary   rocks.  A  large  gypsum  deposit  at  Montmartre  in  Paris  led  to  gypsum  being  commonly   referred  to  as  “plaster  of  Paris”.  Gypsum  plaster  is  a  form  of  calcium  sulfate  (CaSO4.2H2O).   Calcium  sulfate  dihydrate  is  formed  from  the  ionic  bonds  between  Ca+2  and  SO42-­‐  held   together  by  the  intermolecular  hydrogen  bonding  of  water.  The  dihydrate  means  that  there   are  two  molecules  of  water  for  every  molecule  of  calcium  sulfate,  held  together  with   coordinate  covalent  bonds.  Due  to  the  weak  intermolecular  hydrogen  bonding,  plaster  of   Paris  is  quite  soft  and  the  bonds  are  easily  broken.     When  pigments  are  painted  on  the  plaster  the  pigments  sink  into  the  plaster.  The  plaster  is   the  medium  that  holds  the  pigments.  A  chemical  change  occurs  when  the  plaster  is  exposed   to  the  carbon  dioxide  in  the  air.    As  the  chemicals  combine  the  pigments  get  stuck  in  the   plaster  so  it  will  not  peel,  chip  or  wash  off.  This  is  one  reason  frescoes  last  a  very  long  time.             Materials:     Wax  paper   Small  disposable  cup   Craft  stick   Plaster  of  Paris   Paints   Tablespoon   Paintbrush   Cup  for  rinse  water     38 Figure 3 (cont’d) Procedure:     1. Place  2  tablespoons  of  plaster  in  the  small  cup.  Add  1  tablespoon  of  water.  Stir  with   the  craft  stick  until  smooth.   2. Pour  the  wet  plaster  onto  the  wax  paper.  Smooth  the  plaster  out  with  the  craft  stick.   3. Dip  the  paintbrush  into  the  paint  and  paint  the  plaster.  To  keep  plaster  out  of  the   painter  rinse  the  paintbrush  each  time  the  brush  is  dipped  into  the  paint.   4. Allow  the  fresco  to  dry.     Analysis:     1. Define  a  chemical  change.     2. What  indicates  that  a  chemical  reaction  takes  place?   39 APPENDIX D Henna   40   Henna Name ________________ Background: Henna’s staining properties come from the compound 2-hydroxy-1,4-naphthoquinone, or by the more common name, lawsone. Lawsone is an organic compound that bonds with proteins. The lawsone is mainly concentrated in the petioles of the leaves of the henna tree, also known as the mignonette tree and the Egyptian privet. Henna is a tall shrub or small tree native to northern Africa, western and southern Asia and northern Australasia, both in semi arid and tropical regions. It produces the most dye when grown in temperatures between 35 and 45 oC. Whole henna leaves will not stain the skin. The lawsone molecules must be released from the henna leaf by adding a mild acid. To form intricate patterns henna is generally dried, milled and sifted into a fine powder before the acid is added to form a smooth paste. The released lawsone molecules that are about the same size as amino acids move from the henna paste into the stratum corneum, the outermost layer of the skin, without spreading. The stain appears darker with the thicker stratum cornneum on the hands and feet. Essential oils such as tree tea, lavender and eucalyptus, with high levels of monoterpene alcohols, improve the stain. Henna may appear different shades depending on physiological factors such as skin type, temperature, hormone levels and stress. After the dried paste is scraped off the skin oxidation with the air can further darken the skin. Henna refers to the dye prepared from the plant and the art of temporary tattooing. Henna has been used dating back to 2100 B.C. to stain skin, hair, fabric and leather. It has also been used to cool the skin in hot climates. Henna flowers have been used to create perfumes. It can also act as an insect repellent and to prevent mold. 41 APPENDIX E UV Blue Print Design 42 UV Blueprint Design Background: In black and white photography silver salts are coated on paper. When exposed to light the silver is reduced (gains electrons) from Ag+ to Ag. This is a photochemical reaction, a chemical change caused by light. The areas most exposed to light form the most Ag atoms and appear black on the film negative. Areas not exposed to light remain white because no Ag+ ions have been reduced. The fixing and washing of the negative removes the excess reactants, preventing further changes. Light is shown through the negative onto a photosensitive paper and results in a black and white photograph. Making UV sensitive fabric is similar to this process. Using cloth that has been coated with a combination of two iron salts and exposing it to UV light results in a reduction of Fe3+ to Fe2+. This is a photochemical reaction, a chemical change caused by light. In areas that are covered by an opaque object the chemical reaction cannot take place and the cloth remains its original color. The iron salts are ferric ammonium citrate which provides the iron ion that is reduced and potassium ferricyanide which provides a hexacyanoferrate(III) ion in the reaction. The overall reaction is Fe2+ + (Fe(CN)6)3- ⇒ Fe4(Fe(CN)6)3.H2O Prussian blue Prussian blue is a dark blue color due to the mixed iron(II)-iron(III) compound. Materials: Ferric ammonium citrate solution Potassium ferricyanide solution Cardboard Gloves Graduated cylinder Opaque objects or patterns Paper towels Plastic container Black plastic bag Stirring rod Cotton cloth 43 Procedure: Safety precaution: Prussian blue solution is nontoxic but will dye the skin a dark blue: its color will fade over time. Wear goggles and chemical-resistant gloves. Part I: Preparing the cloth 1. Pour 50ml of ferric ammonium citrate solution into the plastic soaking container. 2. Pour 50ml of potassium ferricyanide solution into the same plastic soaking container. Stir the solution well with the stirring rod. 3. Place the cloth in the solution. Mix the cloth with the stirring rod to insure the cloth is completely wet. 4. Set out paper towels on the lab bench. 5. Remove the cloth from the solution, wringing out any excess solution over the soaking container. 6. Spread out the cloth on the paper towels to blot up any remaining solution. 7. Hang the cloth in a dark room to dry overnight. 8. Dispose of the solution as directed. Part II: Developing the Images 9. Place the cloth on the cardboard and arrange the opaque object on the cloth. 10. Place the cloth and the objects in the black plastic bag and take it to a sunny location. 11. Remove the plastic bag, exposing it to direct sunlight until the cloth turns a dark blue color. This may take up to 20 minutes. 12. Remove the objects and place the cloth back into the plastic bag. Bring it back indoor out of direct sunlight. 13. Wearing gloves rinse the cloth under cold water to remove excess iron(III) ions. Rinse until the rinse water is clear and the cloth is a lighter shade of blue. 44 APPENDIX F The Number of Particles in a Chalk Drawing 45 The Number of Particles in a Chalk Drawing Name ___________________ Background: A pair, a dozen, a gross, a ream and a mole are all terms used to represent an amount, a way of counting. Chemists use the mole to refer to the number of particles in a substance. One mole is equivalent to 6.02 x 1023 , a fundamental constant in chemistry. This is known as Avogadro’s number in honor of an Italian scientist who proposed that equal volumes of gases at the same temperature and pressure would have equal number of particles. A mole is considered to be the number of atoms present in 12g of carbon-12. One mole of any substance has 6.02 x 1023 particles. Therefore, one mole of gold has 6.02 x 1023 atoms of gold and one mole of H2O has 6.02 x 1023 molecules of water. The molar mass of any substance can be determined from its atomic mass. For example the atomic mass of gold is 196.96 amu and 1 mole of gold would have a mass of 196.96g. Putting this all together we can see that 1mole of gold contains 6.02 x 1023 atoms and has a mass of 196.96g. 1 mole of water contains 6.02 x 1023 molecules and has a mass of 18.01g (15.999 +2. 1.007). Chalk is a soft, while, porous sedimentary rock. It is a form of limestone with the chemical composition CaCO3. Blackboard and sidewalk chalk are traditionally made of natural chalk but now are generally made from gypsum, CaSO4. Materials: Colored chalk Paper Mass balance Objective: Create a chalk drawing. Determine the mass of the chalk used in the drawing Calculate the number of moles of chalk used Calculate the number of chalk particles used Procedure: Design a procedure to meet the objectives. Include all of your data and calculations in an orderly fashion. Analysis: 1. Explain why your number of chalk particles is so large. 2. How accurately do you believe this value to be? What are some possible sources of error 46 APPENDIX G Creating a 3-D Model of the Periodic Table 47 Constructing  a  3-­‐D  Model  of  the  Periodic  Table                    Name  _____________     Background:   The  main  purpose  of  the  periodic  table  is  to  show  the  various  relationships  among  the   elements.  The  term  periodic  means  repeating  or  cyclic  and  the  Periodic  Law  states  that  the   properties  of  the  elements  repeat  when  the  elements  are  arranged  by  increasing  atomic   number.  A  number  of  scientists  have  made  various  representations  of  the  periodic  table  of   elements.  In  this  activity  a  3-­‐D  model  will  be  constructed.  This  is  not  a  new  concept  but  was   done  in  1862  by  Alexandre  Beguyer  de  Chancourtois,  before  Demitri  Mendeleev,  who  is   known  as  the  father  of  the  periodic  table.     Materials:   Copies  of  periodic  table   Scissors   Tape     Procedure:   1. Cut  out  the  four  pieces  of  the  periodic  table.  Do  not  cut  away  the  grey  background   from  the  bottom  edges  or  from  the  gaps  between  elements.   2. Tape  the  inner  transition  metal  piece  (lanthanide  and  actinide  series)  onto  the   transition  metal  piece.   3. Tape  the  transition  metal  piece  with  the  attached  inner  transition  metal  piece  onto   the  main  group  piece.   4. Roll  this  entire  section  into  a  cylinder  and  tape.   5. Roll  the  noble  gas  section  into  a  cylinder  and  tape.   6. Add  tape  to  the  outside  of  the  noble  gas  section  and  attach  it  to  the  inside  of  the   main  group  cylinder.     Analysis:   1. Along  the  main  group  cylinder  how  many  elements  are  from  noble  gas  to  noble  gas?   Compare  this  to  the  possible  number  of  s  and  p  electrons  in  a  specific  energy  level.       2. Scandium  (Sc)  and  gallium  (Ga)  both  lie  below  aluminum  (Al).  How  will  the   properties  of  these  two  elements  compare  to  the  properties  of  Al?       3. How  many  elements  make  up  the  lanthanide  series?     4. How  many  elements  make  up  the  actinide  series?       5.  The  properties  of  the  elements  in  the  lanthanide  series  are  similar  to  what  element   of  the  transition  metals?  How  can  you  know?     48 6. Hydrogen  occupies  its  own  space;  what  does  this  indicate  about  its  properties?           7. Name  the  halogens.       8. Name  the  noble  gases.           9. Name  the  alkali  metals.   10. The  symbol  n  on  the  table  represents  a  neutron.  Having  0  protons  it  can  be  assigned   an  atomic  number  Z=0.  What  is  the  atomic  number  of  lithium?  How  many  protons   are  in  lithium?         49 APPENDIX H Cool Light 50 Figure 4: Cool Light Cool Light Background: Many chemical reactions produce heat and light, think of a burning match or any type of explosion. It is much less common for a chemical reaction to produce light without heat. This type of reaction is called a chemiluminescent reaction. If you have seen a firefly light up at night you have observed a chemiluminescent reaction in a living organism that is referred to as bioluminescence. Chemiluminescence is the production of electromagnetic radiation as light by the release of energy from a chemical reaction. These reactions produce unstable products that decay and form more stable products and energy in the form of light. Most often the light is visible light. What makes radiation visible is its range of frequencies. Energy excites electrons in atoms, which go up in energy levels, and when the electrons go back down to a lower energy level they release particles of light called photons. Chemiluminescent reactions usually involve the relatively easy breaking of the bond between two oxygen atoms in a peroxide molecule that produces a lot of energy. The most common reaction in toys like a glow stick is between Cyalume and hydrogen peroxide. This reaction initially produces an unstable product that decomposes into carbon dioxide and energy that is given to the dye molecule. The dye molecule than fluoresces. The following diagram shows the reaction: A glow stick is made up of two tubes, one inside the other. The inner tube contains the 51 Figure 4 (cont’d) hydrogen peroxide and the outer one the Cyalume and a dye. Different colored glow sticks contain different dyes. When the outer tube is bent it breaks the inner tube and the two chemicals combine and react. The energy that is released is taken up by the dye that releases the energy in the form of light.     Why does it happen? A glow stick is made up of two plastic tubes, the inner one is filled with hydrogen peroxide (this is a bleach that is often used on hair) and in the outer one is a chemical called Cyalume and a dye. If you want a different colored glow stick you use a different colored dye. The inner tube is quite brittle and when you bend the outer tube the inner one snaps letting the two liquids mix together Where they mix the Hydrogen Peroxide reacts with the Cyalume producing an unstable molecule with loads of energy. If this collides with some dye the molecule breaks down into carbon dioxide and transfers its energy to the dye, which then releases the energy as light. The more often this happens the brighter the light is. The beautiful glowing swirls when you cracked the glow stick were where the two liquids were slowly mixing together. Why does it go dim when it gets cold? If anything is hot it means that the molecules have lots of energy, which means that they are moving very fast so they hit each other more often and when they do collide there is plenty of energy to allow them to react. 52 APPENDIX I Acids and Bases 53 Table 4: Acids and Bases Acids  and  Bases     Background:   Acids  and  bases  make  up  one  of  the  most  important  classes  of  chemical  compounds.  They   are  considered  opposites  in  character  but  are  related  in  their  ability  to  neutralize  each   other.  One  definition  of  an  acid  is  that  it  yields  a  hydrogen  ion,  H+,  or  more  correctly  a   hydronium  ion  H3O+  when  dissolved  in  water.  A  base  may  be  defined  as  a  substance  that   yields  a  hydroxide  ion,  OH-­‐.  Neutralization  occurs  when  the  H+  ion  and  the  OH-­‐  combine  to   form  water,  H2O.     These  acids  generally  have  the  following  properties:   • Sour  taste   • Change  color  in  the  presence  of  an  indicator   • React  with  metals  to  produce  hydrogen  gas,  H2     • React  with  oxides  and  hydroxides  to  produce  a  salt  and  water   • Aqueous  solutions  conduct  electricity   • They  are  electrolytes  (contain  ions)     These  bases  generally  have  the  following  properties:   • Bitter  taste   • Change  color  in  an  indicator   • Neutralize  acids  forming  a  salt  and  water   • Aqueous  solutions  conduct  electricity   • They  are  electrolytes     Examples     Formation  of  hydrochloric  acid:  H2  +  Cl2  →  HCl             Formation  of  carbonic  acid:  CO2  +  H2O  →  H2CO3       Reaction  of  an  acid  and  a  metal:  2HCl  +  Zn  →  ZnCl2  +  H2     Formation  of  the  base  calcium  hydroxide:  Ca  +  2H2O  →  Ca(OH)2  +  H2     Neutralization:  HCl  +  NaOH→  NaCl  +  H2O     pH  is  a  measure  of  the  concentration  of  the  hydrogen  ion  on  a  logarithmic  scale.  Certain   organic  substances  change  color  based  on  the  hydrogen  ion  concentration.  These   substances  are  called  acid-­‐base  indicators  and  are  used  to  determine  the  pH  of  a  solution.   The  pH  scale  ranges  from  0-­‐14.  The  higher  the  hydrogen  ion  concentration  the  lower  the   pH  value.  Acids  have  a  pH  less  than  7,  bases  have  a  pH  greater  than  7  and  a  neutral  solution   has  a  pH  of  7.  Litmus  paper,  phenolphthalein  and  universal  indicator  are  common  acid-­‐base   indicators.     54 Table 4 (cont’d) Procedure:     For  each  indicator  bar  use  the  table  below  and  colored  pencils  to  show  the  appropriate   indicator  response  for  each  pH   pH   Litmus   Universal  Indicator   Phenolphthalein   0-­‐2   Red   Red   colorless   3-­‐4   Red   Orange   colorless   5-­‐6   Red   Yellow   colorless   7     Yellow-­‐Green   colorless   8   Blue   Yellow-­‐Green   colorless   9   Blue   Aqua  blue   pale  Pink   10-­‐11   Blue   Violet  blue   Fuchsia    12   Blue   Violet  blue   Fuchsia   13-­‐14   Blue   Purple   Fuchsia       Litmus                  0-­‐2                  3-­‐4              5-­‐6              7                  8              9                    10-­‐11                        12                  13-­‐14   Universal  Indicator                  0-­‐2                          3-­‐4                        5-­‐6                                          7                      8                          9                            10-­‐11                                      12                  13-­‐14       Phenolphthalein              0-­‐2                        3-­‐4                            5-­‐6                          7                      8                                        9                            10-­‐11                              12                              13-­‐14           Spray  a  paper  with  universal  indicator.  Label  the  paper  with  each  of  the  following:   Sodium  hydroxide   Ammonia   Baking  soda  solution   Coffee   Vinegar   Lemon  juice   Hydrochloric  acid     55 Table 4 (cont’d) Place  a  few  drops  of  each  next  to  each  label.   Complete  the  data  table  below:   Name   Color   pH         Acid  or  Base                                                       Obtain  each  of  the  unknowns  and  test  each  to  determine  the  pH.     Number   Color   pH   Acid  or  Base                                     Using  any  solutions  of  your  choosing  make  a  design  on  a  sheet  of  tissue  paper.  Spray  your   design  with  the  universal  indicator.     56 APPENDIX J   Quizzes       57 The  Chemistry  of  Art             Name__________________________   Quiz  I     1. Identify  the  following  as  a  physical  or  chemical  change:   a. Silver  melting   b. Water  condensing   c. Iron  rusting   d. A  cake  baking     2. Identify  a  chemical  and  physical  change  that  may  occur  to  a  tree.           3. What  are  the  four  indications  that  a  chemical  change  has  taken  place?           4. Identify  the  following  as  an  element  or  a  compound:   a. NaCl   b. NaHCO3   c. Ag   d. C     5. Distinguish  between  an  element  and  a  compound.           6. Identify  the  following  as  a  substance  or  a  mixture.   a. Sugar   b. Salt  water   c. Air   d. Helium     7. Distinguish  between  a  substance  and  a  mixture.       8. Give  an  example  of  a  homogenous  and  heterogeneous  mixture.         9. Name  a  mixture  and  describe  how  it  could  be  separated.       58 The  Chemistry  of  Art     Quiz  II     1. Define  an  atom             Name  ___________________     2. Complete  the  chart     Particle  Name         Relative  Charge         Relative  Mass         Location           3. How  can  an  atom  contain  charged  particles  and  still  be  neutral?       4. What  holds  electrons  within  the  atom?       5. An  atom  of  Silicon  with  the  atomic  number  of  14  has  an  atomic  mass  number  of  29.  Determine   the  number  of   a. Protons   b. Electrons   c. Neutrons     6. Atoms  may  form  positive  and  negative  ions.  Describe  what  occurs  when  each  type  of  ion  is   formed.           7. E.C.  A  positive  ion  is  called  a(n)  ____________________  and  a  negative  ion  is  called  a(n)   _______________.     8. In  the  reaction  Na  +  Cl  →  Na+1  +  Cl-­‐1  which  atom  gained  electrons  and  which  atom  lost  electrons?       9. For  the  atom  below     a. Identify  the  atom   b. Is  the  atom  more  likely  to  gain  or  lose  electrons?  Explain   59 Chemistry  of  Art           Name  ___________________   Quiz  III     1. An  element  has  similar  properties  as  sodium  and  lithium  with  an  atomic  number  greater   than  argon  but  less  than  Krypton.  Use  the  periodic  table  to  identify  the  object.                                   2. Why  do  elements  in  the  same  group  have  similar  properties?   3. Use  the  periodic  table  to  identify  each  of  the  following  as  a  representative  element,   transition  element,  an  inner  transition  element  or  a  noble  gas:   a. iron   b. thorium   c. neon   d. lithium   e. phosphorus   4. A  formula  unit  of  magnesium  fluoride  has  2  fluoride  ions  corresponding  to  each   magnesium  ion  in  the  compound.  What  is  the  formula?     5. The  melting  point  of  water  is  much  lower  than  the  melting  point  of  salt.  Which  is  the   ionic  compound  and  how  do  you  know?   6. A  dozen  is  12;  a  gross  is  144,  what  is  the  value  of  the  mole?   7. What  is  the  molar  mass  of  MgCl2?   8. How  many  moles  of  gold  atoms  are  in  196.97  grams  of  gold?       60 The  Chemistry  of  Art           Name  _______________________   Quiz  IV     1. Determine  the  charge  on  each  of  the  following  as  an  ion.   a. K   b. Br   c. Ca   d. O   e. Al   f. N     2. Name  each  of  the  following  ionic  compounds   a. CaO     b. KCL     3. Write  the  formula  for  each  of  the  following  covalent  compounds   a. carbon  tetrachloride     b. dinitrogen  monoxide     4. Write  the  formula  for  each  of  the  following  ionic  compounds   a. magnesium  bromide     b. rubidium  oxide     5. Name  each  of  the  following  covalent  compounds   a.  SO2     b.  CCl4       6. Identify  each  of  the  following  reactions  as  synthesis,  decomposition,  single   replacement,  double  replacement  or  combustion     a. 2KCl  +  F2    2KF  +  Cl2     b. 4Fe  +  3O2    2Fe2O3     c. 2H2O    2H2  +  O2     d. NaOH  +  HCl  NaCl  +  H2O     7. In  the  reaction  2Mg  +  O2    2MgO  identify  the  reactant(s)  and  product(s).     61 The  Chemistry  of  Art           Name  __________________________   Quiz  V   Acids  and  Bases     Fill  in  the  blank  to  correctly  complete  the  statement.     1. The  pH  scale  ranges  from  _______________  to  ________________.       2. A(n)  ____________  has  a  pH  less  than  7.       3. A(n)  ____________  has  a  pH  grater  than  7.       4. Name  two  properties  of  an  acid.         5. Name  two  properties  of  a  base.         6. What  are  the  products  of  the  reaction  between  an  acid  and  a  base?           7. Why  do  acids  and  bases  conduct  electricity  when  dissolved  in  water?   62 APPENDIX K Student Survey on The Chemistry of Art Activities 63 Table 5: Survey The  Chemistry  of  Art           Name  ________________________   Survey     Activity  Rating   In  the  table  below  rate  each  of  the  activities  on  a  scale  from  1-­‐5  with  1  being   low  and  5  being  high  using  the  following  criteria:     Collaboration:  Did  you  work  cooperatively  with  others?  Was  the  activity   structured  in  a  way  that  made  you  work  together?  Did  you  actively   participate?     Thinking:  Did  you  find  yourself  really  thinking  through  the  process  as  you   performed  the  activity?  How  mentally  engaging  was  this  activity?     Interest:  How  interesting  did  you  find  the  activity?  Did  you  enjoy  it?     Learning:  How  much  did  you  learn  from  the  activity?  Did  the  activity  help   model  the  topic  in  a  way  that  helped  you  learn?     Activity   Collaboration   Thinking   Interest   Learning   Painting  a  Fresco           Corrosion  on           Bronze   Chromatography           Henna           Silver  Nitrate  &           Copper   UV  Blueprint           Chalk  Drawing           Model  of  the           Periodic  Table   Acids  and  Bases           Cool  Lights                 64 APPENDIX L Assent/Consent Form 65 PARENTAL  CONSENT  AND  STUDENT  ASSENT  FORM     Dear  Student  and  Parent/Guardian:     I  am  a  master’s  degree  student  at  Michigan  State  University  conducting  research  for  my   thesis.  I  would  like  to  invite  you  to  participate  in  this  research  project.  Researchers  are   required  to  provide  a  consent  form  to  inform  you  about  the  study,  to  let  you  know  that   participation  is  voluntary,  and  to  explain  the  risks  and  benefits  of  participation  so  that  you   can  make  an  informed  decision.       Purpose  of  the  research:  I  have  developed  a  unit  on  teaching  chemistry  that  incorporates   art.  Students  will  learn  chemistry  concepts  that  can  then  be  used  to  create  a  piece  of  art,   and  how  the  process  of  creating  art  can  be  explained  using  chemistry  concepts.  I  plan  to   study  the  results  of  this  teaching  approach  on  student  comprehension.  The  results  of  this   study  will  contribute  to  my  understanding  about  the  best  practices  in  teaching  science.   Completion  of  this  research  will  help  me  earn  my  master’s  degree  in  MSU’s  College  of   Natural  Science.     What  students  will  do:  As  with  any  unit  of  instruction  students  will  participate  in  the  unit   Chemistry  in  Art,  completing  assignments,  laboratory  assignments,  activities,  pretest  and   posttest.  Participation  in  this  research  will  not  increase  or  decrease  the  amount  of  work   that  students  do.  I  will  make  copies  of  students’  work  and  use  only  those  that  have  agreed   to  participate  in  my  research  analysis.  This  project  will  take  place  during  the  Spring   Semester,  May-­‐June  of  2013.     Potential  Benefits:  The  purpose  of  this  research  is  to  learn  more  about  alternative   methods  of  teaching  science.  Analyzing  the  data  from  students’  progress  will  inform  me   about  the  effectiveness  of  this  method.  If  it  is  successful  I  can  apply  it  to  other  classes.   Students’  will  benefit  by  experiencing  a  well-­‐researched  unit  of  instruction  and  better   learning.     Potential  Risks:  There  are  no  foreseeable  risks  to  students  in  participating  in  this  unit.  I   will  not  know  who  has  agreed  to  participate  during  the  class.  The  completed  consent  forms   will  be  kept  in  the  office.  I  will  not  open  these  until  after  the  class  has  ended  and  I  have   assigned  grades.  I  will  analyze  the  work  only  for  those  students  who  agreed  to  participate   and  whose  parent/guardian  have  consented.     Privacy  and  confidentiality:  Information  about  the  participants  will  be  protected  to  the   maximum  extent  allowable  by  the  law.  Students’  names  will  not  be  reported  in  any   documentation.  The  data  will  consist  of  class  averages  and  samples  of  work  without  names.   During  the  study  data  will  be  protected  by  password-­‐protected  computers  and  locked  files.   After  analysis  any  copies  of  students’  work  will  be  destroyed.  The  only  people  that  will   have  access  to  the  data  are  me,  my  thesis  committee  at  MSU  and  the  Institutional  Review   Board  at  MSU.  This  data  will  be  locked  in  a  file  in  Dr.  Heideman’s  locked  office  for  at  least   three  years  after  the  study.     66 Your  rights:  Participation  in  this  research  is  completely  voluntary.  You  may  say  “no”  and   may  withdraw  at  any  time.  There  will  be  no  penalty  in  saying  “no”  or  from  withdrawing  at   any  time.  I  will  not  know  who  agreed  to  participate  until  after  all  work  has  been  evaluated   and  grades  have  been  entered  for  the  class.       Questions  and  concerns:  If  you  have  questions  or  concerns  about  this  study  please  feel   free  to  contact  any  of  the  following:     Researcher/teacher:  Ms.  Laura  Rainey           lrainey@geneseeisd.org           810-­‐232-­‐8530     Principle:                                             Dr.  Chery  Wagonlander                                                   cwagonla@geneseeisd.org                     810-­‐232-­‐8530     MSU  Advisor:     Dr.  Merle  Heidemann           heidema2@msu.edu           517-­‐423-­‐2152  Ext.  107   You  may  also  contact,  anonymously  if  you  wish,  the  Michigan  State  University’s  Human   Research  Protection  Program  office       irb@msu.edu     517-­‐355-­‐2180     fax  517-­‐432-­‐4503    Submitting  this  Form:  Please  complete  the  form  below.  Both  the  student  and  the   parent/guardian  must  sign  the  form.  Return  the  sealed  envelope  with  the  enclosed  form  to   the  main  office.       Student  Name_________________________   Please  check  all  that  apply:     ________  I  agree  to  allow  my  student  to  participate  in  this  research  project.  All  data  shall   remain  confidential.     ________  I  choose  not  to  allow  my  student  to  participate  in  this  research  project.  My  student’s   work  will  be  graded  in  the  same  manner  regardless  of  their  participation.     ________  I  give  permission  for  photos  of  my  student  and/or  their  work  to  be  used  in  this   thesis  project.  My  student  will  not  be  identified.       ________  I  do  not  wish  to  have  my  student’s  image  used  at  any  time  during  this  thesis  project.       Parent/Guardian  Signature  __________________________________    Date  _____________     _________  I  voluntarily  agree  to  participate  in  this  thesis  project.       Student  Signature  _________________________________________  Date  _______________       67                                           BIBLIOGRAPHY 68   BIBLIOGRAPHY Barell, J. 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