Executive Officer: LTC ALEX STEWART, JR. - Executive Officer: CPT Peter J. Edmond, Jr. - Training Officer: 2/LT. Fort Benning Basic Training Yearbook 1967 Company A. McKee, Darrell L. - McNeal, Charles L. - Meador, William R. - Medley, Farold L. - Menner, Michael D. - Merrell, James B. Herrick, Gary D. - Hicks, Jimmie E. - Hill, Richard O. Fort benning basic training. Smith, Calvin T. - Smith, James L. - Smith, Jerry D. - Souders, Quenton T. - Souther, Walter T. - Stembridge, Gary J. Coffey, Carlton E. - Cook, Robert P. II. Thomason, Whalen E. - Tillman, Robert A.
Front Cover, Fort Benning Basic Training Yearbook 1967 Company A, 6th Battalion, 2nd Training Brigade. Grunenberg, Phillip. Number of bids and bid amounts may be slightly out of date. Drill Sergeant: SFC E7 Waitman G. Sager. Folds, Danny L. - Ford, Emmett S. - Fountain, Herman L. - Friedrich, Charles. Robinson, Isaac S., Jr. - Robinson, Joseph R. - Roth, Steve C. - Rueter, Thad W. - Ryan, Lendon C. - Sandee, John, Jr. - Seay, James L. - Sellers, James L. - Sens, Guy E., Jr. - Shaw, Donald H. - Smith, Bobby. James A. Thomas, III. Murray, Ernest S. - Musson, William C. - Myers, William L. - Nannen, Michael J. Moten, Michael E. - Motes, Gregory A. Ferone, James M. Sand hill ft benning basic training yearbooks. - Finner, Dennis R. - Fleming, William B.
Snyder, Arthur G. - Vineyard, Charles Jr. Fort Benning Boot Camp Yearbook Photos - Company A 1967. Organization: 6th Battalion, 2nd Training Brigade. Lee, John R. - Levister, Ulysses, Jr. - Lewis, John E. - Lewis, Tommy L. - Lewis, Willie E. - Little, Jacob L., Jr. - Ludwig, Dwight L. - Magee, David W. - Makepeace, Steven G. Ft benning basic training pictures. - Malo, Carl J. Sanchez, Gilbert R. - Sellers, Bobby L. - Sims, Rayburn. Boas, Peter D. - Bolan, Daniel F. - Bourke, Harold J. Harich, John L. - Heinzelman, Larry G. - Henley, Lawrence A.
Company A 1967 Fort Benning Basic Training Recruit Photos, Page 10. Holmes, Alan G. - Houston, Fred, Jr. - Jackson, Eddie, Jr. - Johnson, Clyde D. - Johnson, Mark E. - Kayata, Philip. E6 Charles M. Carter. Kelley, Charles W. - Kennedy, David L. - Kennedy, Larry G. - Kirkland, Ronald H. - Kline, Robert H. - Konrad, Karl M. - Lampley, Edwards. Noland, Thomas N. - Page, Michael L. - Patrick, Rickey.
Roster and Photos for Recruit Company A, 6th Battalion, 2nd Training Brigade for 1967, United States Army Basic Training, Fort Benning, Georgia. S-4: MAJOR JOHN GAGLIARDONE. Tucker, Jackie D. - Underwood, John D. - Vargo, Fredrick H. - Walker, Bennie E. - Wallace, Joe L. - Watkins, Joe H. - Washington, William T. - Webster, Omer D. - Whatley, James F. - Whited, James D. - Williams, Richard. Maxwell, Steven R. - Merritt, Reuben, Jr. - Miller, Jerry. Brooks, George Jr. - Bullock, Frank E., Jr. - Carr, David R. - Carr, Lee R. - Carter, Frank, A., Jr. - Chanti, Julius J.
Burns, Walker, Jr. - Buskirk, Thomas A. E7 Ronald L. Tompkins. Campbell, Larry D. - Chestnut, Jerel, Jr. - Goans, Alvin M. - Mandery, Larry A. Completed Training: 22 October 1967. Marlett, Paul E., Jr. - Mason, Michael E. - McCollough, Ronald F. - McCord, James W. - McFadden, George J., Jr. - McGowin, Rolland. Training Officer: 2LT Paul Fitzgibbons. Abbott, Roy E. - Anderson, Jerry C. - Anderson, Luther S. - Bunting, Ronald J. Paul, Jerry L. - Peake, William M. - Pearson, Murphy.
Hillman, James H. - Hitt, James R. - Hogan, David W. - Holcomb, Donnie R. - Holley, William J. Miller, Dennis R. - Miller, Michael R. - Mitchell, Gary. Drill Sergeant: SGT. Reddick, John W. - Reeves, Roy T. - Reynolds, Mark D. - Riley, Archie. Supply Sergeant: SSG. First Sergeant: SFC E7 Elmer Walker. Drill Sergeant: SSG E6 Fred L. Woodin. Mullenix, Philip H. - Murphy, Charles I.
Farr, Kenneth D. - Farris, Gerry L. - Farris, Terry J. Moore, Olden L., Jr. - Morgan, William J. E7 James D. Sanford. Training Officer: 2LT Stephen M. Phelps. 211 Recruits Graduated on 22 October 1967. Nevills, Booker C. - Nicolay, Gary A. Guffey, Clarence E. - Gunter, Robert W. - Hahn, Larry D. - Haley, Troy M. - Hall, James H. - Hall, Paul C. - Hall, R. V. - Hanover, Jack R. - Hardison, Charles. Elliott, William T. - Evans, Marzell.
Sergeant Major: SMJ. Company Clerk: SP4 E4 Melvin R. Banks. Taylor, Edward R., Jr. - Taylor, Jerry D. - Thomas, Herman W. - Thomas, James L. - Thomas, Larry. Mess Steward: SFC E7 Joseph B. E5 Ronald L. Fleshman. Amounts shown in italicized text are for items listed in currency other than Canadian dollars and are approximate conversions to Canadian dollars based upon Bloomberg's conversion rates. Drill Sergeant: SFC E7 Gunther Leonhardt. Company A 1967 Leadership. Company Commander: 1/LT. Commanding Officer: Colonel John E. Lance, Jr. - Battalion Commander: LTC. Young, Charlie L. - Young, Gerald O., Jr. - Young, Thomas P. - Williams, Kenneth G. Not Pictured. Lawless, Frank W. - Lecory, Anthony J.
What is the relationship between line and three-dimensional form? Art History: A Preliminary Handbook, Dr. Belton, The University of British Columbia. How does this artwork represent a student's skill and style pdf. These things give the stone or canvas its form, its expression, its content, its meaning. How does this art work represent a students skill and style? Through Visual Arts, students develop critical and creative thinking and proficiency in selecting, manipulating and adapting materials and techniques to support their conceptual and perceptual understandings.
Has the artist used a broad or limited color palette (i. variety or unity)? What kind of atmosphere do these colors create? Students will choreograph a pattern of movements inspired by the weavings. You can also draw a reflection of a window or light or something if you want to, but that is optional. Where are dominant items located within the frame? Does the artwork communicate an action, narrative or story (i. How does this artwork represent a student's skill and style sheets. historical event or illustrate a scene from a story)?
This makes it easier for examiners to follow and evaluate the writing. Stop Motion Animation has a long history in film to create movie magic. Students also consider the addition of personal significance to the work. Which skills, techniques, methods and processes were used (i. How does this artwork represent a students skill and style of writing. traditional; conventional; industrial; contemporary; innovative)? There is no other route to success. Review the left hand column to see the lesson plan based on the original TEKS. Are these methods useful for your own project? Has the artwork been built in layers or stages?
Ergonomics: an applied science concerned with designing and arranging things people use so that the people and things interact most efficiently and safely –. Sketch of a woman by Kiana S. How does this artwork represent a student's skill and style. Repeating lines: may simulate material qualities, texture, pattern or rhythm; - Boundary lines: may segment, divide or separate different areas; - Leading lines: may manipulate the viewer's gaze, directing vision or lead the eye to focal points (eye tracking studies indicate that our eyes leap from one point of interest to another, rather than move smoothly or predictably along leading lines9. The Revised TEKS for English Language Learners (ELLs). In developing knowledge and skills in Visual Arts, students learn to manipulate and adapt a wide range of physical materials and technologies.
Skills, techniques and processes. The original fourth strand of the TEKS was called Response/evaluation, and it conveyed the expectation that students make informed judgments about personal artworks and the artworks of itical Evaluation and Response. Written instructions or diagrams for students who have difficulty retaining aural instructions. The questions below are designed to facilitate direct engagement with an artwork and to encourage a breadth and depth of understanding of the artwork studied. Authentic performance assessment allows students to practice as well as receive feedback and have the opportunity to revise their work. EC-6 Fine Arts Flashcards. Terms specific to this curriculum are defined in the glossary and a hyperlink to examples of band-appropriate knowledge and skills is provided with the content descriptions. Think of the object as a series of decisions that an artist made. What kind of abstract elements are shown (i. bars; shapes; splashes; lines)? Does the whistle work? It combines advice from art analysis textbooks as well as from high school art teachers who have first-hand experience teaching these concepts to students.
What materials and mediums has the artwork been constructed from? Art, Grade 6 (c)(2)(A) express a variety of ideas based on personal experience and direct observations. Learning in Visual Arts results in the combination of representation, visual conventions and viewpoints by students to make an artwork. Can you make any relevant connections or comparisons with other artworks? …a formal analysis – the result of looking closely – is an analysis of the form that the artist produces; that is, an analysis of the work of art, which is made up of such things as line, shape, color, texture, mass, composition. Through Visual Arts, students learn to reflect critically on their own experiences and responses to the work of artists, craftspeople and designers and to develop their own arts knowledge and preferences. There can be different, competing, and contradictory interpretations of the same artwork. In this 9-12 lesson, students will explore different cultures' supernatural explanations for human existence. The arts are taught with students doing—they sing, they clap, they experiment with rhythm, they blend color, they improvise a frog's jump. CRITERIA: student expectations or objectives. In the later years, students will consider the interests and concerns of artists and audiences regarding time, place, philosophies and ideologies, critical theories, institutions and psychology. How to analyze an artwork: a step-by-step guide for students. Content Specialist, Digital Learning. What is the effect of including these items within the arrangement (visual unity; connections between different parts of the artwork; directs attention; surprise; variety and visual interest; separates / divides / borders; transformation from one object to another; unexpected juxtaposition)?
Students with disabilities can benefit in many ways from art classes. Finally, when writing about art, students should communicate with clarity; demonstrate subject-specific knowledge; use correct terminology; generate personal responses; and reference all content and ideas sourced from others. The expectation in art classrooms is that our students work at the highest level at all times, which is the reason for the changes in the revised TEKS. They should be the same height at the eyelid, but you can do them longer if you want. Are shadows depicted within the artwork? Through learning in Visual Arts, students consider how cultures and societies shape visual arts practice; how artists and audiences contribute to a creative society; and how historical forces and critical commentators recount the contribution of artistic ideas to society and culture. Their relationships and interactions combine to create more complex meanings. Can you see a clear intention with alignment and positioning of parts within the artwork (i. edges aligned; items spaced equally; simple or complex arrangement; overlapping, clustered or concentrated objects; dispersed, separate items; repetition of forms; items extending beyond the frame; frames within frames; bordered perimeter or patterned edging; broken borders)? Write alongside the artwork discussed.