AI Projects for Art Teachers

You are an experienced art department chair reviewing a colleague's year, and I want the real gaps rather than encouragement.

Here is my year: [paste your unit list, the media used in each, and the artists or cultures you show].
Grade levels: [grades]. My standards are [state standards or the National Core Arts Standards].

Do four things, in this order:
1. List the media I return to three or more times, and the media I have not touched at all. Name the missing ones specifically (Ex. printmaking, fiber, digital, sculpture in the round).
2. Tell me which cultures and time periods my artist list actually covers, and which a student could go a whole year without seeing.
3. Tell me which units are teaching the same skill as each other, so I can combine or cut one.
4. Give me the three changes with the most impact that need no new equipment and no new money, ranked, with what each one costs me in time.

Ask me anything you need before you start. Be direct.

Act as an art curriculum designer building a vertical sequence.

Grade band: [K-5 or 6-12]. Students see me [number] times a week for [number] minutes, and the program is [required for all students, or an elective].
Media and equipment I have: [list].

Build a progression where each year assumes the prior year:
1. For each grade, name the four or five skills that year owns, across observation, technique, composition, and craftsmanship.
2. State what each year assumes students can already do, so the dependency is visible on the page.
3. Name one project per grade that would show me the skill actually stuck.
4. Flag the two places the sequence breaks for a student who transfers in without the earlier years, and what I do for that student.

Do not put "self portrait" or "color wheel" in more than one grade unless the later one is doing genuinely harder work, and if it is, say exactly what that harder work is.

I need one project written at three levels of constraint for [grade level] art.

The project: [describe it, including the medium and the number of class periods].
The objective all three versions must assess: [Ex. using value to create the illusion of form].
My class includes students with [number] years of art and students who have never taken it.

Write three versions:
- Version A gives the subject, the composition, and the process steps.
- Version B gives the objective and the medium, and leaves subject and composition to the student.
- Version C gives the objective only, as a problem to solve, with a materials limit.

Requirements:
- Same objective, same critique vocabulary, same rubric language across all three.
- No version should look shorter or feel like less work than the others.
- For each, one sentence on which student it is for and what it deliberately does not scaffold.

Then give me the single demonstration I can do once, at the front of the room, that serves all three.

Write a substitute plan for one [number] minute [grade level] art class. The sub has no art background and will not demonstrate anything.

Supplies available: [list exactly what is out and reachable, Ex. pencils, copy paper, colored pencils]. Use nothing else.
What the class has been working on: [current project or unit].
Off limits: [Ex. the kiln, the paper cutter, the good paper, the sink].

The plan must:
- Be a real art lesson that connects to our unit. Not a coloring page, not a video.
- Need nothing from the sub but reading directions aloud and circulating.
- Include a written or observational component, so there is something to collect.
- Give students who finish early a real extension, not free draw.

Give me: a timed agenda, the exact words the sub reads to open class, the student handout ready to copy, the cleanup instructions with a five-minute warning built in, and two sentences on what to do if the room gets loud.

I want projects that fit what I actually have, not what a catalog assumes.

My inventory: [list your materials with rough quantities, Ex. 40 sheets of 12 by 18 white drawing paper, one class set of watercolor pans, tempera in red yellow blue black white, no kiln].
Budget for the rest of the year: [dollar amount].
Class size: [number]. Grade level: [grade]. Periods per project: [number].

Give me five projects that fit inside that list. For each:
1. The objective and the element or principle it teaches.
2. Exactly which of my materials it uses, and how much per student.
3. What it costs to run for one class, in dollars, using my numbers.
4. One way the material limit makes the project better rather than smaller.

Rules:
- Nothing that needs a purchase I have not budgeted for, and nothing that needs equipment I did not list.
- If a project needs one cheap addition, name it and price it.
- No project that only works if every student brings something from home.

I want a real cross-curricular unit with a colleague, not a poster assignment attached to their unit.

Their subject and unit: [paste the unit, the essential question, and the assessment if you have it].
Their grade level: [grade]. Timeline: [number] weeks. My class sees these students [number] times a week.
My media and equipment: [list].

Give me five ways the art room could deepen that unit. For each:
1. What students make, and in what medium.
2. The art objective it teaches in its own right.
3. What students understand about my colleague's subject afterward that they would not have understood otherwise.
4. What I need from my colleague, written as one concrete ask I can make in a hallway conversation.

Then rank the five by how much art learning they actually carry, and tell me plainly which ones are illustration with extra steps.

Build a bank of 30 bell-ringers for [grade level] art, each five minutes at the start of class, done in a sketchbook.

Elements and principles I want to keep warm: [Ex. line, value, shape, texture, color, space, balance, emphasis].
Current unit: [project or medium]. Materials at their seats: [Ex. pencil, sketchbook, eraser].

Rules:
- Each one focuses on a single element or principle. Name it at the end of the prompt.
- Each is a making task, except the five where looking and writing is the point.
- Every one must be startable without me explaining it, and finishable in five minutes by a student who works slowly.
- Vary them: observation from life, from memory, blind contour, value scales, thumbnail compositions, one-minute gestures, invented texture.
- Nothing that amounts to "draw whatever you want."

Format as a numbered list. For each: the prompt exactly as students will see it on the board, then a five-word note on what it practices.

I am teaching [artist name] for the first time to [grade level] students. I need a working brief and a list of what to verify.

Give me:
1. A short biography: dates, place, training, and the movement or context the work sits in.
2. What problem this artist was working on, in plain language, and what makes the work worth a class period.
3. The three works most worth showing to this grade. For each: title, date, medium, dimensions, current collection, and one sentence on what to have students look for.
4. The formal vocabulary a student needs in order to talk about this work.
5. Two facts about the artist's life or reception that students find genuinely surprising.

Then finish with a section headed VERIFY BEFORE YOU TEACH: every name, date, title, attribution, and collection above that I should confirm against a museum or catalogue source, with anything you are less than certain about marked. If you are not sure a work exists as you have described it, say so instead of guessing.

Write discussion questions about one specific work for [grade level] art.

The work: [title, artist, date, medium]. What I can show: [Ex. a full-screen projection, a print, the actual object].
Vocabulary I have taught and want them using: [Ex. value, emphasis, implied line, negative space].
The unit this sits in: [unit or medium].

Give me:
1. Three questions about what is literally there, answerable by pointing at the surface.
2. Four questions about specific formal choices the artist made, each naming the part of the work it is about and each using my vocabulary.
3. Three questions about the effect of those choices, that can honestly be answered more than one way.
4. One question connecting this work to what students are making right now.

Rules:
- No question that could be asked of any artwork.
- Nothing about how the work makes them feel unless the question also asks what in the work is doing it.
- For each question in group 3, tell me the two positions a class is most likely to split between.

Build a compare-and-contrast pairing for [grade level] art.

The formal problem I am teaching: [Ex. how artists create depth without linear perspective].
Where students are right now: [current medium or project].

Give me two works that solve that same problem from different eras or cultures, and not the pairing everyone uses. For each: title, artist or culture, date, medium, dimensions, and where it lives now.

Then give me:
1. The thread: one sentence naming what both works are doing.
2. Three things to look at in each, side by side, in the order I should point them out.
3. A five-question looking sequence I ask while both are on the screen.
4. The one-paragraph writing prompt students answer afterward, using the vocabulary from the discussion.
5. Anything I should know before showing either work to this age group.

Only real, findable works. If you are not certain of a title, date, or attribution, mark it for me to verify.

I want to widen the artists my students see, and I want to do it properly rather than adding names to a slideshow.

Medium or process I teach: [Ex. printmaking, ceramics, textiles, portraiture].
Grade level: [grade]. Traditions already in my curriculum: [list].

Give me twelve artists or traditions working in that medium outside the Western canon, spread across regions and eras, including at least three living artists.

For each:
1. Name, dates or active period, region or culture, and the specific technique.
2. One work worth showing, with title, date, and where it is held.
3. What a student would learn about the medium here that my current examples do not teach.
4. Where to research further: the museum collection, catalogue, or scholarly source most likely to hold reliable material.

Rules:
- No one included for the sake of the list. The technical reason has to be real.
- Flag everything you are uncertain about, especially attributions, dates, and cultural context. I am verifying each one before it goes in a slideshow.
- Do not flatten a whole region into a single entry.

Write three model artist statements my [grade level] students can read before writing their own.

The project: [describe the assignment, medium, and objective].
Vocabulary students have been taught: [list].
Length students will write: [number] words.

Write three statements about the same imagined project, at three levels:
- One a beginner could realistically write, honest and plain.
- One from a student who can name their choices and connect them to intent.
- One at portfolio or AP level, discussing process, revision, and influence without inflating itself.

Rules:
- Plain language. No art-speak, nothing that starts "my piece explores the juxtaposition of."
- Every statement names a specific decision the artist made and why, not a feeling.
- Each sounds like a real student at that level, including the small awkwardness real writing has.

After the three, list the moves that separate each level from the one below it, in language I can put on the board.

Turn a museum visit into an assignment that makes students look closely.

Museum and collection: [name, plus the galleries or exhibitions we will see].
Grade level: [grade]. Time in the building: [number] minutes. Group size: [number], with [number] chaperones.
What we are studying right now: [media or concepts].

Build me a looking-guide on one double-sided page:
1. Four tasks that require noticing technique: how a surface was made, where a mark starts and stops, visible evidence the artist changed their mind, scale in person versus reproduction.
2. Two sketching tasks with a time limit each, pencil only.
3. One task comparing two works in different rooms.
4. Two questions students answer about a work of their own choosing, so the guide still works if a gallery is closed.

Rules:
- Nothing answerable from the title card.
- No task that requires reading a wall label to complete.
- Include chaperone instructions, timing, and what students turn in.
- If you are not certain which works are currently on view, write the tasks so they work in any gallery of this collection instead of naming specific pieces.

Write twenty critique sentence stems for [grade level] art students, for a [Ex. gallery walk, small group critique, full class critique].

The project being critiqued: [medium and objective].
Vocabulary I have taught: [list the elements, principles, and technical terms].

Give me stems that force a student to be specific and kind:
- Six for describing what is actually there, before any judgment.
- Six for naming a formal choice and its effect, using my vocabulary.
- Four for asking the artist a real question about a decision.
- Four for offering a suggestion that stays about the work rather than the person.

Rules:
- Every stem requires a specific detail. Nothing completable with "good" or "cool."
- Nothing that opens with "I like" or turns on "but."
- Written at a reading level this grade can use without me translating it.
- Short enough to print in large type on a poster.

Format as four labeled groups, ready to put on the wall.

Build a rubric for [grade level] art that assesses process rather than natural ability.

The project: [describe it, the medium, and the number of class periods].
The objective: [Ex. using overlapping and scale to create depth].
Grading scale: [Ex. 4 point, 100 point, letters].
Criteria I want: risk-taking, revision, craftsmanship, use of the element I taught, and [anything else].

For each criterion:
1. A one-sentence description in student language.
2. Descriptors at each level, written to describe observable evidence in the work or the sketchbook, never talent, effort, or attitude.
3. What counts as evidence, so a student can point at it and so can I.

Rules:
- No row can be scored higher by a student who arrived able to draw well and did nothing new.
- Revision has to be assessable from what is in front of me, so say what physical evidence I look for.
- One page, five rows maximum.

Then tell me which row a student who improved most this quarter would score highest on, and whether this rubric actually rewards that.

Build a feedback comment bank for [grade level] art, for this project type: [Ex. observational drawing, wheel-thrown pottery, relief print, acrylic painting].

The objective: [what the project assesses]. My rubric language: [paste your criteria].

Write twenty comments in four groups of five:
1. The specific technical skill this medium requires.
2. Composition and the element I taught.
3. Process: revision, problem-solving, craftsmanship.
4. A strong choice worth naming so the student repeats it.

Rules:
- Every comment points at a specific visible thing. Use [DETAIL] where I fill in the particular, Ex. "the way you handled the transition into shadow on [DETAIL]."
- Each includes a next step the student could take on the next piece.
- Nothing about talent, effort, or attitude. Nothing that would sting read aloud.
- Two sentences maximum each.
- No "nice work," no "good use of color," nothing interchangeable between two different pieces.

I did a critique walkaround today and talked to every student. Here are my rough notes, dictated: [paste your notes, using student initials only].

Project: [medium and objective]. Grade level: [grade]. Rubric: [paste it].

Turn each set of notes into a short written comment for that student:
1. Open with the specific strength I noticed, in my words rather than upgraded ones.
2. Name the one revision or next step that matters most for this piece.
3. Close with one question for them to answer in their sketchbook.

Rules:
- Keep the initials. Never invent a name.
- Add nothing I did not observe. If a student's note is too thin to write from, say so and tell me what to look at next time instead of filling the gap.
- Two to four sentences each.
- Match the vocabulary to what I taught in this unit.

Output as a list by initials, in the order I gave them, so I can move them into the gradebook.

Write self-assessment reflection prompts for [grade level] art students to answer at the end of this project: [describe the project, medium, and objective].

Format: [number] questions, answered on [Ex. a sketchbook page, a half sheet, a form].

Every question must make a student explain a decision they made. No rating scales, no "how hard did you try," no scoring their own effort out of five.

Cover:
1. A decision they changed partway through, and what made them change it.
2. A specific choice about composition or the element I taught, and what they were going for.
3. The hardest technical part, and what they actually did about it.
4. What they would do with two more class periods, in concrete terms.
5. One thing in the piece they want me to notice.

Rules:
- Every question answerable by pointing at the work.
- Reading level this grade can handle without me explaining the question.
- One sentence each, and nothing answerable yes or no.

Then write the three lines I put at the top of the page so students know the grade does not depend on the answer being flattering.

Build a portfolio review checklist a [grade level] student can run against their own work before I see it.

Portfolio type: [Ex. AP Art and Design Sustained Investigation, AP Selected Works, senior show, program exit portfolio].
Requirements I am held to: [paste the official requirements, or say which ones you know].
Number of pieces: [number]. Media represented: [list].

Move from whole-portfolio concerns down to individual pieces:
1. Whether the body of work shows a real investigation, and what visible evidence says so.
2. Whether the written or process component matches what the images actually show.
3. Piece-level checks: documentation quality, cropping, lighting, and whether the photo represents the object honestly.
4. Technical and craftsmanship checks specific to each medium in my list.
5. What is missing that reviewers most often mark down.

Rules:
- Phrase every item as an action the student takes, not a quality to judge. Not "is your investigation clear" but "write your inquiry question in one sentence, then check that at least five pieces visibly answer it."
- Fifteen items maximum.
- Where an official requirement applies, quote it and tell me to confirm the current year's wording against the official source, because these change.

Help me write a funding request for an art project.

The ask: [Ex. a DonorsChoose page, a PTA request, a district mini-grant, a local business].
Dollar figure: [amount]. What the money buys: [itemize, with costs if you have them].
The project: [what students will make, the medium, the objective].
Who it reaches: [number] students, [grade levels], plus anything about the population the funder should know.
Audience: [who reads this, and what they care about].

Write it in this order:
1. One opening paragraph describing the object a student will be holding at the end. Concrete, not abstract.
2. What students learn and make, in language a non-art-teacher understands.
3. The itemized budget, with what each line makes possible.
4. What happens if it is not funded, stated factually and without pleading.
5. What the funder gets to see afterward: the show, the photos, the thank-you notes.

Rules:
- Under [word count] words.
- No jargon, no "21st century skills," no standards codes.
- Never argue that art matters mainly because it raises test scores.
- Leave a bracketed blank anywhere I should add a real student detail I have permission to share.

Write a one-page case for my art program, for [Ex. a principal, a school board, a scheduling committee].

My program: [grade levels, number of sections, enrollment, what students make, anything unusual about it].
What is being proposed: [Ex. cutting a section, moving art to a rotation, splitting me across two buildings].
What this audience cares about: [Ex. scheduling, budget, test scores, retention, community perception].
Numbers I have: [enrollment trends, attendance, awards, participation, anything real].

Structure it:
1. One opening sentence naming what is at stake for students, not for me.
2. Three arguments, strongest first, each answering something this audience actually cares about.
3. The specific cost of the proposed change, in students affected and opportunities lost.
4. One alternative that addresses their real constraint, so I am not only saying no.
5. A clear ask.

Rules:
- One page. Short paragraphs, headings, readable in three minutes.
- Never argue art matters mostly because it helps other subjects.
- Mark every place I should insert my own evidence: a piece of student work, a name I have permission to use, a real number.
- No pleading and no sarcasm. Assume the reader is under pressure too.

Draft a message to families about a project that gets messy.

The project: [medium, what students do, how many class periods].
What families need to know: [Ex. clothes will stain, an old shirt helps, a deadline, something to bring from home, a fee, clay dust, kiln timing].
Grade level: [grade]. Format: [Ex. email, class app, printed slip].
What I know about this community: [Ex. many families cannot send extra supplies, most read on a phone].

Write it so it gets read:
1. A subject line under eight words.
2. The one thing to know, in the first sentence.
3. What to do, as a short list with dates.
4. A plain line for families who cannot send materials, making clear no student is left out and no explanation is needed.
5. A warm close, one sentence.

Rules:
- Under 150 words.
- Sixth grade reading level. Short sentences.
- Never imply a student is at a disadvantage without a supply.
- Do not apologize for the mess. The mess is the project.

Write the wall text for a student art show.

The show: [theme or title, grade levels, number of pieces, media represented].
Venue: [Ex. a hallway, the cafeteria, the public library, a local gallery].
Audience: [Ex. families, a lot of younger siblings, community members with no art background].
What students were actually doing: [the assignment, the objective, the constraint].

Give me:
1. One main panel, 120 words maximum, telling a visitor what they are looking at and what to look for.
2. A section label for each medium or grade group, 40 words each, on what that group was working on and what was hard about it.
3. Three prompts for a small card, giving a parent something to ask their child about the work.
4. The individual label format: what goes on it and in what order, with one example filled in using [STUDENT NAME] and [GRADE].

Rules:
- Written for someone who has not taken an art class since they were twelve.
- Credit the work, never the teaching.
- No art-speak. If a technical word is necessary, define it in the same sentence.
- Nothing that ranks students or singles one out.

Draft a proposal for [Ex. an artist-in-residence visit, a museum field trip, a workshop with a local maker].

The plan: [who, what they would do with students, how many days or hours].
Grade levels and student count: [details]. Dates: [when]. Cost and funding source: [amount and where it comes from].
Who approves this: [Ex. principal, department head, district office].

Write it with the parts an administrator will ask for anyway:
1. A two-sentence summary at the top, so it can be approved without reading further.
2. Learning objectives tied to [state standards or the National Core Arts Standards], with codes only if you are confident of them and a note to verify if you are not.
3. The schedule period by period, including which classes students miss and how that is handled.
4. An itemized budget with the funding source for each line.
5. Logistics: supervision ratios, transportation, meals, restrooms, timing.
6. A safety plan covering the materials, tools, and processes involved, plus the site itself.
7. Contingency: rain, a cancelled visitor, a bus that does not arrive.
8. How I report on it afterward.

Two pages, headed sections, skimmable. Flag anything likely to need a district form I should ask about.

Write safety procedures for [Ex. the kiln, the paper cutter, the band saw, glazes and clay dust, spray fixative, solvents, hot glue] in language a [grade level] student will actually follow.

My setup: [describe the room, where the equipment sits, the ventilation, and whether students ever operate it].
What I have been told officially: [paste anything from your district, the manual, or the safety data sheet].

For each item:
1. A posted procedure, six steps maximum, one line each, in the order they happen.
2. The two things that actually go wrong with this, stated plainly, and what to do when they do.
3. What a student is never allowed to do, as a short list.
4. The sign-off line a student initials to record that they were trained.

Then a five-question quiz covering all of it, with an answer key, so I have documentation.

Rules:
- Do not invent a temperature, a ventilation rate, a manufacturer specification, or a chemical hazard. Where a real number belongs, write [VERIFY: check the safety data sheet or manual] and say what to look for.
- Nothing here replaces my district's policy or the equipment manual. Tell me where the two are most likely to conflict.

Build me a supply inventory and reorder system I will actually keep up with.

My room: [grade levels, number of sections, students per class, budget cycle and when it opens].
The ten things I always run out of: [list them, with the quantities you usually buy].
Ordering constraints: [Ex. one purchase order in August, a small discretionary fund, three week lead times].

Give me:
1. A spreadsheet structure: exact column headers, in order, and what goes in each. One sheet only.
2. A reorder-point rule for each of my ten items, based on how fast a class of [number] goes through it, showing the arithmetic so I can adjust it.
3. A count schedule: what I count monthly, what I count quarterly, and what I never count.
4. A one-page order-request form a colleague or student aide fills in when something runs low.
5. The August order list built from my numbers, with the two items most likely to run out in March flagged.

Rules:
- The whole system has to be maintainable in ten minutes a month. Cut any step that takes longer.
- Use my quantities and my class sizes in every calculation, not averages.
- Tell me which of the ten I am probably over-ordering.

Design a station-by-station cleanup routine for my art room.

The room: [describe the stations, Ex. sink, drying rack, paint shelf, clay area, kiln room, tool wall, tables].
Class size: [number]. Grade level: [grade]. Cleanup time available: [number] minutes.
What currently goes wrong: [Ex. everyone crowds the sink, brushes get ruined, nobody wipes tables, the drying rack is chaos].

Give me:
1. A posted procedure per station: four steps maximum, one line each, written for this grade.
2. An assigned role per station, with a title students will accept, and how many students per role.
3. The order and timing, minute by minute, so the sink is never the bottleneck.
4. The verbal cue that starts it, and the one signal that means stop and freeze.
5. How roles rotate, and what happens when the assigned student is absent.
6. The thirty-second check I do at the door before releasing the class.

Rules:
- Cleanup finishes inside my [number] minutes with the class seated, not still moving.
- No role that only one responsible student can do.
- Solve the crowding problem specifically. That is the real issue.

Help me build a short critical-literacy unit for [grade level] art in which students study AI image generation rather than use it as a shortcut. The position I want the unit to hold: a generated image is not the student's work.

Length: [number] class periods. Tools available: [Ex. one teacher account projected, a district-approved tool, nothing hands-on].
Where this sits: [current unit or medium].

Build:
1. A generation exercise: three prompts the class runs together, chosen so the output reveals the model's assumptions (Ex. what it produces for a plain occupation or place prompt).
2. An analysis protocol: what students record about what the model assumed, what it flattened, what it got physically or anatomically wrong, and whose visual style it is echoing.
3. A close-looking comparison between one generated image and one real work in the same genre, with the questions I ask.
4. The training-data discussion: how these models are built, why artists have objected, and both sides put strongly enough that a student could argue either.
5. A making task where students draw or build, by hand, the thing the model got wrong.
6. A written reflection of [number] words, and a rubric that grades the analysis and the making and never the generated image.

Rules:
- Age-appropriate for this grade, and tell me which prompts not to run live.
- Do not resolve the ethics for the students. Give me the question, the strongest form of each position, and the point where I say what I think.
- When describing how a specific tool was trained, separate what is documented from what is disputed.

I need reference material for a [grade level] drawing lesson that I cannot photograph myself. My students will be drawing it by hand from that reference.

What I need to see: [Ex. a figure in a specific pose from a low angle, one hard light source raking across drapery, a horse mid-stride from the front].
Why I cannot photograph it: [Ex. no model, no equipment, the animal is not available].
What the lesson teaches: [Ex. foreshortening, cast shadow, gesture].

Do two things.

First, before generating anything: tell me whether a real photographic or public-domain source would serve this better, and name two specific places to look (Ex. a museum open-access collection, a public-domain photo archive, a scientific reference). If a real source exists, say so plainly. I would rather use it.

Second, only if generating is genuinely the practical option, write me the image prompt, built for accuracy rather than style:
- Specify the pose or angle, the light direction and quality, the value range, and a plain background.
- No painterly style, no artist's name, no imitation of anyone's work. This is reference, not a picture.
- Then list what a generated reference of this subject usually gets wrong (hands, joints, weight, how shadow behaves), so I can warn students and correct at the board.

Finally, write the three sentences I say to the class about where this reference came from, honestly, and why they are still the ones drawing it.

Help me plan the layout of a student art display before I start hanging it.

The space: [describe it, Ex. a 30 foot hallway wall, a locked case 48 by 36 inches, a stairwell landing]. Measurements: [dimensions].
The work: [number] pieces, sizes [list or ranges], media [list], grade levels [list].
Mounting available: [Ex. staples into cork, tape on painted block, magnetic strip, case shelves].
Constraints: [Ex. it goes up in one 45 minute planning period, eye level for elementary students, nothing above the fire alarm].

Give me:
1. Two or three layout options in plain text: a grid, a salon arrangement, and a linear one, each described row by row with spacing in inches and pieces per row.
2. The arithmetic: total wall length used, spacing between pieces, and center height, using my measurements.
3. Where the title panel and labels go in each option.
4. Which option handles a mix of sizes best, and which is fastest to hang alone.
5. The hanging order, so I am not moving pieces I already put up.
6. A materials and tools list, and a realistic time estimate for one person.

If you produce a mock-up image, it is a planning sketch of my own layout and not student work, so keep it plain: blank rectangles at the right proportions, with nothing invented inside them.