Kit 2 / Chemistry / Overview / Page 1 COLORS OF NATURE / KIT 2 .
COLORS OF NATURE / KIT 2 CHEMISTRY AND ART HOW DOES THE CHEMISTRY OF COLOR HELP US UNDERSTAND THE WORLD AROUND US? The Colors of Nature Kits are designed to help students explore the core question: how do art and science help us understand the world around us? Through a series of investigations students become familiar with the core practices of art and science, and develop scientific and artistic habits of mind that empower them to engage in self-directed inquiry through the generation and evaluation of ideas. Kit 2 frames this line of inquiry through the perspective of chemistry: the study of matter and the changes it can undergo. A STEAM APPROACH TO EDUCATION (Science, Technology, Engineering, Art, Math) STEAM is an educational philosophy that seeks to balance the development of divergent and convergent thinking by integrating the arts with traditional STEM fields (Science, Technology, Engineering, Math). In the STEAM approach to learning, students engage in projects and experiments that reflect the transdisciplinary nature of real-world problem solving. Rather than focusing on the delivery and memorization of content as isolated facts or repetition of rote procedures, STEAM seeks to develop scientific and artistic habits of mind and the confidence to engage in self-directed inquiry by familiarizing students with the core practices of art and science in an open and exploratory environment. The STEAM investigations in this kit are designed to foster creative inquiry by promoting individual agency and establishing meaningful connections to students’ own lives. For additional teaching resources visit www.colorsofnature.org KIT 2 OVERVIEW Kit 2 / Chemistry / Overview / Page 1
COLORS OF NATURE / KIT 2 How does the chemistry of color help us understand the world around us? INTRODUCTION / CHEMISTRY IN ART AND SCIENCE INVESTIGATING THE CHEMISTRY OF COLOR In this series of investigations we will explore the relationship between chemistry and color, and how one informs the other. Pigments are the colorful compounds that lend their hues to most of the world around us. Using chromatography, we will separate the individual pigments in spinach leaves and magic markers to better understand what their colors are made of. Then, using acids and bases, we will alter the chemical structure of the pigment in red cabbage to learn how chemistry can be used to manipulate color as well as what color can tell us about chemistry. Finally, we will explore how sunlight can initiate a chemical reaction in cyanotype pigments and how we can harness that reaction to create photographic images. INVESTIGATION 1 / Chemical Separation: Chromatography What is color made of? INVESTIGATION 2 / Acid-Base Reaction: Red Cabbage Painting How can we manipulate color with chemistry? INVESTIGATION 3/ Photochemical Reaction: Cyanotypes How can light affect the chemistry of color? WHAT IS CHEMISTRY? ART / SCIENCE OVERLAP in CHEMISTRY Chemistry is the study of matter and the changes it can undergo. Matter refers to anything with mass and volume, the physical “stuff ” in the universe. All matter is made up of either chemical elements (like hydrogen and oxygen) or compounds (like H2O), which are chemically bonded mixtures of elements. Art and science are intricately intertwined throughout human history, and this overlap is perhaps nowhere more apparent than in the field of chemistry. Our technical and cultural innovations stem from our ability to identify, separate, and manipulate the raw materials in our environment with ever-greater complexity and precision. Wherever you are right now, look around. Brilliant color is everywhere: in the clothes we wear, the structures that shelter us, even the foods we eat. Our understanding of chemistry has allowed us to create a world with an unprecedented abundance of color. The smallest particle of a chemical element or compound that maintains the same chemical properties is called a molecule. Molecules can be all shapes and sizes, and can be as small as one atom, like helium. The oxygen we breathe, O2, is made up of two chemically bonded oxygen atoms. When three oxygen atoms bond together they form a compound we call ozone. Water, H2O, is a compound molecule made of two hydrogen atoms and one oxygen atom. If the chemical bonds of a molecule are broken, atoms can rearrange and recombine with other atoms, creating new molecular structures. We call this process a chemical reaction. The substances that go into a chemical reaction are called reactants and the substances that form as a result are called products. Chemical reactions are happening in and around us all of the time, from inside our cells to stars in faraway galaxies. Right: A student testing plants, soil, and other sources in the vicinity of the classroom for useful pigments. OVERVIEW Kit 2 / Chemistry / Overview / Page 2
COLORS OF NATURE / KIT 2 How does the chemistry of color help us understand the world around us? INTRODUCTION / CHEMISTRY IN ART AND SCIENCE OVERVIEW Kit 2 / Chemistry / Overview / Page 3 THE CHEMISTRY OF COLOR Long before anyone in a lab coat synthesized colorful concoctions in beakers and tubes, humans harnessed the power of chemical reactions to manipulate the world around them. We used fire (a chemical reaction between a fuel and an oxidant called combustion) to cook, provide heat, and bring light to the darkness. We used fermentation (a reaction that converts sugar to acids, gases, or alcohol) to preserve foods and to make beer, bread, wine and cheese. We learned to use fire to transform earth into pottery and glass, to extract metals from the ores in which they occurred, and to recombine them as alloys. Each discovery ushered in major technological and cultural shifts, and as our knowledge of chemical reactions advanced, so did the color palette available to us for our art and adornment. Our insatiable attraction to bright colors seems to predate the emergence of the modern human species. Archaeological evidence indicates that as long as 400,000 years ago, early hominids such as Neanderthals collected unusually bright mineral fragments containing red iron oxides, and even transported these choice pigments long distances from their origins. Although their exact use is unknown, we can speculate that they were appreciated for their saturated colors. The earliest examples we have of painting date to over 40,000 years ago, when humans began to create symbolic imagery on cave walls. These prehistoric cave paintings, found across the globe from Europe to Southeast Asia to Africa, all have a similar color palette of rusty reds, black, and white. Why? Because these are the stable pigments that occur most abundantly across the earth. Iron oxides (think of rust) in rocks and soils provided a range of colors from yellows to reds. Charcoal from burnt wood or bones provided a rich carbon black, and kaolin clay or chalk (calcium carbonate) deposits provided bright white pigments. As technology advanced and we became more adept at identifying, separating and manipulating the materials in the world around us through chemistry, our color palettes expanded with the development of new pigments and dyes. In turn, our desire for brilliant colors drove experimentation and innovation. Colorfast blue and purple pigments are rare in nature and were highly sought after. Without understanding chemistry the way we do today, some ancient civilizations nonetheless discovered how to synthesize prized colors from available materials, and guarded their recipes closely. The Egyptians discovered that by melting quartz, lime, and copper together, and pulverizing the resulting glass, they could make a bright blue pigment. The Indus Valley Civilization developed a deep blue colorfast dye by fermenting the leaves of the indigo plant and mixing it with lye, and the Phoenicians developed a purple dye from the photosensitive secretions of a sea-snail boiled for days in a lead vat. Cloth from these labor-intensive processes could cost more than its weight in gold, and was often restricted to exclusive use by royalty. These ancient recipes remained the primary source for some colors for millennia, until modern chemistry revealed the secrets of chemical color. In 1856 a chemist who was attempting to synthesize quinine, a malaria treatment, accidentally synthesized the first modern dye, a brilliant purple called mauvine. Only a few years later, another chemist synthesized indigo, and the era of industrial synthetic pigments opened up a vibrant new world of accessible color across the visible spectrum.
COLORS OF NATURE / KIT 2 How does the chemistry of color help us understand the world around us? INTRODUCTION / INSTRUCTIONAL METHOD INSTRUCTIONAL METHOD GUIDING DISCUSSION AND REFLECTION ASKING QUESTIONS TO DEEPEN ENGAGEMENT We advocate for a STEAM approach that quiets the inner negative voice, focuses on open outcomes, and values student ideas and expression. Foundational to our approach are practices that promote identification with science and art, including the use of real science and art tools; connect science and art to everyday life; and offer students the chance to participate in authentic science and art practices. It is important to establish an environment that Each investigation in this kit provides: Give students choices when possible. A sense of agency can increase identification with science. The instructor should continue asking questions to Accept student responses as value-neutral. Ask questions and encourage discussion and reflection. Connect activities to everyday practices and student-relevant ideas. encourages imaginative speculation, or thinking outside the box. If students are conditioned to “take things seriously” during classtime, they might not be comfortable offering the creative or humorous answers that are often generated by divergent thinking. lead the discussion beyond the point where students offer answers that they believe are “correct” or what they think the instructor expects to hear. This can be facilitated by the instructor’s willingness to contribute their own playful ideas and follow up with questions that solicit deeper analysis: What do this fly’s eyes remind you of? They remind me of a discoball! What about them is like a discoball? What does a discoball do to light? What do you think the fly’s eyes do to light? How might this be useful for the fly? A central question to focus the investigation, repeated in the header of each page. Specific questions integrated with the procedural steps of the activity to prompt the discussion, shown in italics for quick reference. Throughout the activity, the instructor should use open questions to guide observation, encourage experimentation, and prompt reflection. Questions should aim to: Expand upon an idea: what else could you do with this? could this be for? could this mean? Draw attention to specific details: what do you see? what texture? color? pattern? what is different/similar between this and that? Encourage synthesis with existing knowledge: what does this remind you of? where have you seen something like this before? what about this is different than where you saw something similar before? METHOD Kit 2 / Chemistry / Overview / Page 4
COLORS OF NATURE / KIT 2 How does the chemistry of color help us understand the world around us? INTRODUCTION / FOSTERING ENGAGEMENT IN ART AND SCIENCE ART / SCIENCE OVERLAP ENGAGEMENT IN SCIENCE PRACTICE ENGAGEMENT IN ART PRACTICE Both science and art seek to broaden our understanding of the world around us. Although art and science are often thought of as separate ways of knowing, they are similar in many important ways in principles and practice. Driven by curiosity, creativity and technique, both disciplines contribute new experiences, ideas, and technologies to society and create the foundation of knowledge from which future innovations emerge. The core practices of art and science reveal significant overlap as well: observing, questioning, experimenting, analyzing, and communicating are the means by which both disciplines generate and distribute new ideas and technologies. Young children engage naturally in core science practices. They make observations and test and revise their predictions as they seek to understand how the world around them works (how high can I stack these blocks before they tumble?). But when science is presented in the classroom as isolated facts to be memorized, or procedural steps to copy, students can lose sight of their own capacity to question the world around them, test their ideas, and share their discoveries. Many students, especially girls and people from non-dominant groups, start to view science as rote, passionless, and uncreative. Students who have difficulty memorizing and repeating facts, or making connections to complex systems that don’t feel relevant to their daily lives begin to disengage from science. Again, these STEAM investigations should emphasize developing familiarity with the practice and tools of scientific inquiry, rather than on memorizing content or achieving specific results. Similarly, young children almost universally engage in art making. They progress from simple scribbles as they learn to handle and control their mark-making tools to the development of symbols that represent their understanding of the world. As the complexity of these graphical symbols increases, children begin to aim for realism (of proportion, form, lighting) in their representation. Around age 9, as social awareness increases, children begin to shift their focus from the expressive pleasure of making art to the results of their work, especially in comparison to the work of their peers. Between age 10 and 13, children decide whether or not they are good at art (as opposed to whether or not they enjoy making art), and it is in this stage of development that many children cease to engage in art-making, believing they do not have the talent to produce good (realistic) results. These beliefs are often reinforced by peers and adults who similarly value conventions of realism in western art. When an adult claims “they can’t draw,” we automatically understand them to mean that they can’t draw realistically, not that they can’t move a pen across a piece of paper. With continued practice and instruction, nearly everyone can develop skills of realistic representation. Nevertheless, the following STEAM investigations should remain focused on the act of art making itself: an awareness of the opportunities that present themselves and the creative choices that are made in the course of artistic practice. The results of each activity are useful as a record of the process, but the emphasis should be placed on the importance of observing, experimenting, and reflecting on the activity itself. CORE PRACTICES of ART and SCIENCE Observing Experimenting Questioning Analyzing Describing Communicating STEAM Kit 2 / Chemistry / Overview / Page 5
COLORS OF NATURE / KIT 2 INTRODUCTION / NOTEBOOK EXTENSION NOTEBOOK EXTENSION MATERIALS PREPARE NOTEBOOKS FOR USE Keeping a notebook is a common practice in Blank student notebooks Discuss with students what information might both art and science. The notebook is a place to Writing/ drawing tools (pens, pencils, etc.) be useful to include in their notebook, to assist keep track of ideas, observations, measurements, sketches and other information relevant to the ideas the practitioner is exploring. It is a space Glue stick that allows for informal musings and reflections INTRODUCTION alongside notes and data recorded for later Discuss with students the various reasons why reference. Each investigation in the Colors of artists and scientists might keep notebooks and Nature Kits includes suggestions on how to how it helps them study the world around them. incorporate the notebook into the lesson. Notebooks can be incorporated into numerous other classroom activities beyond these investigations, providing a private space for students to reflect on what they are learning and develop their ideas outside of the normal constraints of classroom assignments. with identification and use as a reference of their observations. At the very least, have students write their name on the inside cover, so missplaced notebooks can be returned to their owner when found. What information might be important to include in the notebook? Why do artists and scientists keep notebooks? Some examples include, but are not limited to: observe a subject more closely record observations when other methods of recording are not possible or available at the time capture additional information such as measurements, notes, other observations keep a record of what was done, how data was collected think through and work out ideas and designs on paper before trying in real life Some examples include, but are not limited to: name contact information page numbers page titles table of contents dates of entries or observations measurements photos or other materials that can be glued into the book. EXTENSION Kit 2 / Overview / Page 6
GRADES: 4-6 Kit 2 / Investigation 1 / Chromatography / Page 1 TIME REQUIREMENT: 60 minutes SCIENCE STANDARDS (NGSS): Performance Expectation: 5-PS1-1. Develop a model to describe that matter is made of particles too small to be seen. [Clarification Statement: Examples of evidence could include adding air to expand a basketball, compressing air in a syringe, dissolving sugar in water, and evaporating salt water.] 5-PS1-3. Make observations and measurements to identify materials based on their properties. [Clarification Statement: Examples of materials to be identified could include baking soda and other powders, metals, minerals, and liquids. Examples of properties could include color, hardness, reflectivity, electrical conductivity, thermal conductivity, response to magnetic forces, and solubility; density is not intended as an identifiable property.] Crosscutting Concepts: Influence of Science, Engineering, and Technology on Society and the Natural World: The uses of technologies and any limitations on their use are driven by individual or societal needs, desires, and values; by the findings of scientific research; and by differences in such factors as climate, natural resources, and economic conditions. ART STANDARDS (NCCAS): VA:Cr1.2.5a Identify and demonstrate diverse methods of artistic investigation to choose an approach for beginning a work of art. VA:Cr2.1.4 Explore and invent art-making techniques and approaches. VA:Cr2.1.6 Demonstrate openness in trying new ideas, materials, methods, and approaches in making works of art and design. COLORS OF NATURE / KIT 2 HOW DOES THE CHEMISTRY OF COLOR HELP US UNDERSTAND THE WORLD AROUND US? INVESTIGATION 1 / WHAT IS COLOR MADE OF? CHROMATOGRAPHY OVERVIEW Using chromatography, students will separate the pigments in spinach leaves and felt tip markers. Students will then use what they have learned about pigment separation to experiment with different art outcomes, and purposely design for a desired outcome for an abstract artwork. This investigation demonstrates that matter is made up of tiny particles with unique chemical characteristics, making it possible to separate and identify individual components of a mixture. One of these characteristics is color: pigments are molecules that reflect and absorb specific wavelengths of visible light and are responsible for most (but not all) of the colors we see in the world around us. LEARNING OBJECTIVES Students will be able to discuss and demonstrate examples of how: Many of the colors that we see in the world around us are the result of molecules, too small to be seen individually, that absorb and reflect specific wavelengths of light. Pigments can be separated from the material they color using techniques like chromatography. Chromatography can be used to explore the colorful pigments in art materials, and to experiment with developing new art making techniques and approaches.
COLORS OF NATURE / KIT 2 How does the chemistry of color help us understand the world around us? INVESTIGATION 1 / CHEMICAL SEPARATION: CHROMATOGRAPHY What is color made of? BACKGROUND Kit 2 / Investigation 1 / Chromatography / Page 2 TEACHER BACKGROUND INSTRUCTIONAL APPROACH ART BACKGROUND This investigation is designed to introduce students to the particles that are responsible for most of the colors we see in the world around us. Too small to be seen individually by the naked eye, these particles, called pigments, absorb specific wavelengths of light while reflecting others back to our eye. Pigments are responsible for the green of leaves, the pink of flamingos, the colors of the clothes we wear, and the brushstrokes a painter puts on canvas. At the heart of a STEAM approach are practices that encourage close observation and open experimentation. The first part of the lesson offers a structured approach, in which students can practice observational skills, while the second part offers a chance for students to engage in open experimentation of art outcomes associated with pigment separation. Students then use that knowledge to design original artwork. Pigments have provided us with a means of symbolic expression since our emergence as a species. Prehistoric art from archaeological sites around the world all exhibit a familiar color palette of reds, blacks and whites. These pigments are the most abundantly available of the naturally occurring stable pigments, meaning they do not easily fade or degrade over time. As civilizations evolved and technologies advanced, other mineral pigments were discovered and traded across vast distances: greens from copper, and blues from lapis lazuli. Although minerals often provided the most stable pigments, plants and animals were used as pigment sources as well. Indigo blue came from the fermented indigo plant, reds from the madder plant, purple from the murex sea snail, and red from crushed cochineal beetle. It is important to note that not all of the colors we see around us come from pigments. Some colors are the result of other optical phenomena, such as scattering or structural color. For example, there is no blue pigment in the sky (the color is a result of Earth’s atmosphere interfering with radiation coming from the sun). A pigment can be extracted from the substance it colors, and will still be colorful. Today we will use a simple chemical separation technique, chromatography, to investigate the individual pigments that make up the color of spinach leaves and felt-tipped markers. Our ability to separate and identify individual chemical components in the world around us gives us insight into their function, and is the first step in learning how to change them through chemistry. The instructor should guide the students through questions and prompts that encourage: observation of the materials and their interactions classification of different materials and their properties analysis and discussion of results discussion of how artists and scientists use chemistry in their work Accept all student answers as value neutral. The expanding spectrum of pigments available to artists and artisans throughout history coincides with humanity’s technical and cultural innovations, from the development of new tools to the division and specialization of labor and the establishment of far-flung trade routes. In fact, synthetic pigments resulting from chemical reactions were discovered long before humans understood the fundamental chemistry involved. Careful observation of matter and the changes it undergoes when exposed to heat or light, or when mixed with other substances, allowed artists and artisans to manipulate chemical compounds, creating new pigments and dyes with desirable properties that did not occur naturally.
COLORS OF NATURE / KIT 2 How does the chemistry of color help us understand the world around us? INVESTIGATION 1 / CHEMICAL SEPARATION: CHROMATOGRAPHY What is color made of? SCIENCE BACKGROUND CHROMATOGRAPHY PLANT PIGMENTS A pigment appears a certain color because it reflects some wavelengths of the visible spectrum while absorbing others. For example, the chemical properties of a green pigment cause it to absorb many of the wavelengths in white light except green, which is then reflected back to our eye. Chromatography is a method used by scientists to separate mixtures into their individual components. In chemistry, a mixture refers to a combination of substances that are not chemically bonded to each other, and can be separated by taking advantage of the distinct chemical properties of its components. Today we will use filter paper as the stationary phase, and solvents (water and isopropyl alcohol) as the mobile phase to separate the pigments in spinach leaves and black felt tipped markers. When we submerge the end of a hanging strip of filter paper into the solvent containing a pigment mixture, we will see the solution wick up the filter paper due to capillary action. The solvent is also carrying the mixture of pigments. Some pigments are more attracted to the paper than they are to the solvent, and vice versa. Because each pigment has unique chemical properties that determine its affinity for the paper or the solvent, the pigments travel at different rates, separating into bands. Chlorophylls are the most abundant pigments on earth, creating energy for plants through photosynthesis by absorbing many of the visible wavelengths of light except in the green part of the spectrum, giving most vegetation its familiar color. In response to the abundance of this green pigment in our environment, the human eye has evolved to be especially sensitive to green light. We can distinguish between tiny differences in shades of green, more so than any other color. This is why night vision goggles are designed to produce a green-hued image. In chromatography, the mixture (called the mobile phase) is passed through a medium (called the stationary phase) in which different components travel at different rates due to their preferential attraction towards the material in the mobile or stationary phase. The name comes from the Greek words for “color” and “writing,” although the process was developed in 1903 by a Russian botanist in order to study the pigments that make up the colors we observe in plant leaves. Spinach leaves contain four pigments: chlorophyll a (blue green) chlorophyll b (yellow-green) carotene (orange) xanthophyll (yellow) The carotenes and xanthophylls are responsible for the oranges and yellows we see in autumn leaves after plants halt chlorophyll production in preparation for the winter. Left: leaf pigment chromatogram of kale, showing the banded separations of the chlorophylls, carotenes, and xanthophyll. BACKGROUND Kit 2 / Investigation 1 / Chromatography / Page 3
COLORS OF NATURE / KIT 2 How does the chemistry of color help us understand the world around us? INVESTIGATION 1 / CHEMICAL SEPARATION: CHROMATOGRAPHY What is color made of? KIT MATERIALS SETUP 10 minutes 15cm filter paper (can substitute white coffee filters) cut into 1.5” strips (at least 2 per student) 1. Protect working area Clear 12-oz. cups or jars (2 per student) may want to use paper or plastic coverings on Isopropyl (rubbing) alcohol (2 tbsp per student) tables to minimize cleanup from any spills that Mortar and pestle (1 per group of 2-3 students) 3ml Pipettes (1 per group of 2-3 students) 2. Cut paper filters into 1.5” strips Various colors of washable felt tip markers (at least 2 per student, students can share colors) This can also be done as a first step by students, 1 roll clear tape (like Scotch tape) This is not an especially messy project, but you might occur. where appropriate. 3. Prepare work stations Distribute spinach leaves, filter paper strips, ADDITIONAL SUPPLIES Spinach leaves (or arugula, or kale or any other dark leafy green you can find) (For spinach, an 8oz bag is plenty; each student needs about 5 leaves to crush) Other leaves or flowers, berries, fruit/ vegetables collected in vicinity of classroom (aim for about a tablespoon of compacted material) Pencils (1 per student) Scissors (1 pair for prep) jars or cups and pipettes to students. Distribute mortars and pestles to groups of 2-4 students to share. PREP Kit 2 / Investigation 1 / Chromatography / Page 4
COLORS OF NATURE / KIT 2 How does the chemistry of color help us understand the world around us? INVESTIGATION 1 / CHEMICAL SEPARATION: CHROMATOGRAPHY What is color made of? INTRODUCTION: WHAT IS COLOR MADE OF? 10 minutes 1. Engage the students in the lesson by inviting them to consider what art looked like long ago, when pigments were not readily available from the store. Show students ancient art examples: Cueva de Manos, Argentina (over 9,000 yrs ago) Egyptian tomb painting (3,300 yrs ago) Yulin Cave painting, China (1000 years ago) Ask students: -what colors do you see? -where might the artists have sourced those colors, since they couldn’t buy them from the store? Collect answers on the board. Prompt students to think of plants/minerals/animals as possible sources, if they do not think of this on their own. Share real examples given from art background section if desired. 2. Ask students to think of their favorite color and then identify something in the room that is that color. Have students take a minute to write down their chosen object, its color, and their ideas about: -what gives my object its specific color? -where did that color come from? 3. Ask students to imagine themselves as artists a thousand years ago. If they wanted to develop a paint in their favorite color: -where might they source that color? -how would they turn it into paint? -how might that color be made by people today? 4. Now, show students a spinach leaf, a blue felt tipped m
the materials in the world around us through chemistry, our color palettes expanded with the development of new pigments and dyes. In turn, our desire for brilliant colors drove experimentation and innovation. Colorfast blue and purple pigments are rare in nature and were highly sought after. Without understanding
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