# Learner cards · 30 equivalent ways into ten art decisions 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](PRACTICE-SWAPS.md) are separate from the held [Checks S/T](STUDENT-CHECKS.md). ## 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.