Use locally preferred speech, sign, AAC, eye gaze, pointing, drawing or adult scribe. Three routes each day share the same art goal; they are not “ability groups” or fixed learning-style labels. Route A uses locally approved dry marks, B uses broad fixed prepared shapes and child-directed adult handling, C needs no print, screen, counting, touch or movement. Adult repeats the child's directions for confirmation and records who actually made the image. A described plan remains PLAN ONLY until a work is made. Optional home bridges never require a purchase, photo, upload or personal disclosure. Twenty worked context bridges are separate from the held Checks S/T.
Day 51 · Same pieces, different whole
Say: “The same supplied marks can sit in two places. What whole picture do they make for you?”
- A · make: arrange or draw the given broad marks in two contrasting whole outlines; choose one and say why.
- B · direct: direct an adult to position large fixed card shapes in two ways; adult does not choose the layout.
- C · no material: describe two exact placements such as low/wide and tall/narrow; name the intended picture. Adult reads both back.
At home if wanted: describe two ways a made-up pile of large paper squares could sit; no ten-count test or real materials needed.
Day 52 · One part can be large
Say: “What would you make large, small or the same size? What do you want a viewer to notice?”
- A: sketch two scale choices for an invented image and circle the chosen focus.
- B: select/direct one broad large and one small fixed outline; place them by adult handling.
- C: name a feature and say how its size would compare with the others, or why equal size is intentional.
At home: imagine a paper machine with one large/small window and describe the art purpose; no photograph.
Day 53 · Turn the whole page
Say: “Try a tall frame and a wide frame in your mind or on paper. Which helps your idea?”
- A: make the same main mark in two page directions and choose one.
- B: direct adult handling of two fixed broad frames or point without touching.
- C: hear each frame's dimensions described; give chosen direction and where the marks sit.
At home: choose whether an invented long boat page would be tall or wide, with a reason. No turning or movement required.
Day 54 · Original whole image
Say: “Choose where marks sit, their sizes or your page direction for your own picture.”
- A: create an original image using any approved dry mark route.
- B: direct adult arrangement of large prepared marks and confirm the whole image.
- C: give a precise art plan and reason; record plan only unless made.
At home: explain one original imaginary scene choice to a willing person or keep it private.
Day 55 · Check S
Say: “Use the new made-up orchard source. Show two different whole pictures with the same given pieces; choose one and tell why.”
- A: make two arrangements in the blank spaces and select one.
- B: direct adult movement of fixed broad discs without the adult proposing where they go.
- C: dictate/sign/AAC two exact whole outlines and a choice; neutral scribe reads back.
At home: do not rehearse this held source. Later, invent a different set of broad paper shapes and compare two placements.
Day 56 · Two makers, two choices
Say: “Who offered each mark, and how could their choices sit together?”
- A: make a fictional page with two clearly named contributions.
- B: direct adult placement of fixed broad marks, naming each fictional maker.
- C: describe the two marks, makers and a shared whole with no handling.
At home: use two fictional characters; name their marks and an imagined page. No family member has to make or share anything.
Day 57 · Keep both contributions visible
Say: “Try two places for two offered marks. Choose one for the whole picture.”
- A: sketch two fictional placements and name the source of each mark.
- B: direct adult to move broad fixed marks after the source/maker labels are stated.
- C: describe both placements with position words or AAC and select one with a reason.
At home: explain why two invented marks could sit above/beside one another; no actual collaboration claim.
Day 58 · Shared image if makers agree
Say: “You may make a shared page, make your own, or plan with pretend makers. Ask before changing another person's mark.”
- A: with a willing partner and local approval, each makes a chosen mark and agrees placement; or make a solo page.
- B: direct an adult maker/placer, confirming whose mark and actual agreement; solo and fictional routes remain available.
- C: plan an exact fictional or solo composition, with no touch or peer participation; record plan only if unmade.
At home: imagine a two-maker page. A real family co-make is optional and never submitted.
Day 59 · Real art and optional viewer
Say: “What can you actually see in a cleared artwork? What does its source say? You may share your own art or keep it private.”
- A: respond to an approved real work and optionally share own original work with a willing actual viewer.
- B: hear a precise adult description and reliable maker/context; give a response and choose a private showing if wanted.
- C: receive the same credited information without image/touch; respond or pass. With no cleared source, use the fictional question and mark real encounter not observed.
At home: choose an original mark to explain to a willing person or keep private. Do not copy a community work.
Day 60 · Check T
Say: “Two pretend makers offered marks. Show two ways both marks could be in one picture; choose one and tell why.”
- A: draw two composed options on blank paper; identify each fictional maker's mark.
- B: direct neutral adult placement of two broad fixed mark types into two options.
- C: dictate/sign/AAC two exact placements, selection and reason; adult reads back without visual suggestions.
At home: do not rehearse the puppet-workshop source. Later, invent other marks and decide where they could sit.
Observation without route ranking
Log child intention, visual choice, source status, actual marker/placer, neutral prompt and access, actual agreement and contributions if co-made, actual viewer if shared, what remains unobserved and one next teaching move. Route choice does not diagnose sensory, motor, language or attention needs. Accept “no/not now” under the school's permission protocol and preserve the same art target via a solo or fictional route.