Documenting Evidence: appendix Leah Cardenas
Waverley Christian College
TABLE OF CONTENTS
00 contents
1: Student learning needs/ strategies
1
1a: Student profiles Student A Student B
1 1 2
1b: Individual education plan
3
2: Learning style survey
7
2a: Learning styles Student A Student B Student C
7 7 9 11
3: Project sheet
13
3a: Monogram project sheet
13
4: Student work
15
4a: Student examples
15
5. Resources
25
5a. Teacher resources
25
6. Student feedback
33
6a. Teacher evaluation by students
33
7. Teacher notes
35
7a. Teacher’s notes on students
35
8. Professional Development
37
8a. Professional Development record
37
contents 00
0 0
STUDENTS LEARNING NEEDS/ STRATEGIES
01 student learning needs/ strategies
01
The student learning profiles outlines the ways in which the students learn best. It outlines their strengths and challenges. Below are the Student learning profiles of Student A and Student B.
STUDENT LEARNING NEEDS/ STRATEGIES
1a Student Profiles
W.S. Secondary – Confidential Student Profile -‐ 2015 Student A
Davis Wang
Background/ History:
Level of Adjustment: Broad Category of Disability:
• • • • • •
Diagnosed with Severe Pragmatic Language Disorder – Autism Spectrum Literacy and Numeracy support required -‐ 2015 Auditory processing difficulties Short term auditory memory Literacy and Numeracy support in 2014 Exams in LEAPS – modified, additional time, clarification. Support provided within quality Supplementary Substantial Extensive differentiated Adjustments Adjustments Adjustments teaching practice Social / Physical Cognitive Sensory Emotional
Level of need:
Low
Current Challenges:
• • • • • • • • •
Strengths:
• • • • • •
Strategies & Recommendations:
• • • • • • • • • • • •
NCCDSSD – Supplementary Adjustments:
Moderate
High
Following instructions both oral and written Low expressive and receptive language skills Requesting help and expressing himself Low self-‐esteem Working independently in class Does not monitor his work effectively; tunes out easily; off-‐track easily Initiating and maintaining friendships of which he is aware Conversational skills Socially impaired; does not pick up on body language and behaviours of his peers Talented with drawing Neat handwriting. Applies himself to the best of his abilities to all of his school work. Polite, respectful, obedient and follows the school rules. Modification of class and homework tasks, particularly language-‐based tasks Break down assignment tasks explicitly, provide goals to be reached and ensure that checkpoints are in place (use graphic organisers, checklists, subtitles, outlines etc. that assist with written work and assignments) Davis will need to have his timetable with him during the school day Ensure Davis is referring regularly to his timetable throughout the day Colour coded folders for each subject Short checklist of items needed for each class Davis needs to be seated near the front of the classroom near the Teacher Davis needs clear, precise instructions for tasks to be completed Support verbal information with visual aids wherever possible Teach Davis how to highlight pertinent information and take meaningful notes Repeat instructions and check Davis understands them Use short sentences when giving instructions. Break tasks down into smaller steps. Provide warning to Davis of any change of routine or switch of activity Give Davis time to process information before repeating instructions
• modifications to instruction in terms of content and/or teaching strategies • the provision of course materials in accessible forms
1
student learning needs/ strategies 01
W.S. Secondary – Confidential Student Profile -‐ 2015 Student B
Hannah Sow Background/ History:
• • • •
Level of Adjustment: Broad Category of Disability:
Diagnosed with Turner’s Syndrome Requires Literacy and Numeracy support -‐ 2015 Literacy, numeracy and social support in 2014 Foundation Maths Semester 1, Intermediate Maths Semester 2 (2014) Support provided within quality Supplementary Substantial Extensive differentiated Adjustments Adjustments Adjustments teaching practice Social / Physical Cognitive Sensory Emotional
Level of need:
Low
Current Challenges:
• • • • • •
Strengths:
•
Strategies & Recommendations:
• • • • • • •
NCCDSSD – Supplementary Adjustments: Other:
• • •
•
Moderate
High
Too many instructions at one Background noise can be a distraction Can have friendship challenges with certain peers Easily distracted Can be distracted by other students during class Attempting questions independently (Hannah requests the answer to be given to her before attempting it) Friendly and pleasant Reduce background noise where possible Ensure Hannah is looking at you when you are giving instructions Hannah should be seated near the front of the classroom so as to help her with auditory and visual cues Keep instructions short and simple Pause between instructions to give Hannah time to process the information Encourage Hannah to write a list of tasks she needs to complete and mark them off as they are completed Encourage Hannah to attempt the task independently once guidance is given modifications to instruction in terms of content and/or teaching strategies the provision of separate supervision or extra time to complete assessment tasks the provision of intermittent specialist teacher support
2
0 1
STUDENTS LEARNING NEEDS/ STRATEGIES
01 student learning needs/ strategies
01
The student individual education plan outlines the students goals and strategies for each of their subjects. Below is the IEP for Student A.
STUDENT LEARNING NEEDS/ STRATEGIES
1b Individual educational plan Student A
3
student learning needs/ strategies 01
4
0 1
STUDENTS LEARNING NEEDS/ STRATEGIES
01 student learning needs/ strategies
01 STUDENT LEARNING NEEDS/ STRATEGIES
1b Individual educational plan
5
student learning needs/ strategies 01
6
0 1
LEARNING STYLE SURVEY
02 learning style survey
02
Learning style survey of Student A.
LEARNING STYLE SURVEY
2a Learning styles
7
learning style survey 02
8
0 2
LEARNING STYLE SURVEY
02 learning style survey
02
Learning style survey of Student B.
LEARNING STYLE SURVEY
2a Learning styles
9
learning style survey 02
10
0 2
LEARNING STYLE SURVEY
02 learning style survey
02
Learning style survey of Student C.
LEARNING STYLE SURVEY
2a Learning styles
11
learning style survey 02
12
0 2
PROJECT SHEET
03 project sheet
03 PROJECT SHEET
3a Monogram Project Sheet
Visual Communication Design: Design Elements and Principles Chart 2015 Semester 2: Project 2
Visual Communication Design: Project 2: Monogram
Monogram: A monogram is a motif made by overlapping or combining two or more letters or other graphemes to form one symbol. Monograms are often made by combining the initials of an individual or a company, used as recognizable symbols or logos.
Typography: Typeface is usually mistaken with font. But they are different. The term font refers to a specific member of the typeface family; for example: roman, bold or italic. Serifs are the small tick-like lines at the end of character strokes. Every letter in a serif font includes serifs. The serifs assist the eye to read the text. A sans serif (sans meaning without in French) font doesn’t have serifs and is typically used in headings and titles. X-height Is the distance between the baseline and the mean line. The main body of each lowercase letter fits within this space. Ascender is the part of the letter that is above the mean line. Descender is the part of the letter that is below the baseline.
13
project sheet 03
The Task: You are required to design a monogram of your name. The design must be completed using gouache and consider contrast of colour.
Documentation: As part of the design process it is very important that all information and evidence of your thinking is clearly represented through annotations and drawing. Hand in: • •
Completed design elements and principles chart Your sketchbook: o o o o o o
Project sheet Typography Generation pages of your monogram Development in colour Mock up Evaluation page:
Assessment Rubric: 1. Exploration of creative ideas. 2. Resolution of ideas and quality of completed work. 3. Understanding and application of typography conventions. 4. Trailing of mixed media. 5. Thoughtful evaluation of design, process & completed work including annotations in sketchbook.
VH
Grade: Comments:
14
H
M
L
VL
0 3
STUDENT WORK
04 student work
Typography vocabulary and student research of typography examples. Students also had to annotate each of the 6 examples as to why they were chosen.
15
student work 04
04 STUDENT WORK
4a Student examples The following pages outline the work of Student C for the Monogram project. It also outlines the ways in which her work was extended and modified according to the student centered approach to engaging learning.
Typography notes outlining each of the steps needed to design their individual typefaces.
16
0 4
STUDENT WORK
04 student work
Generation task: each student completed 10 quick sketches of initial ideas for their monogram/ typeface. Students used their own individual research and inspiration to complete these sketches. Each generation needed to be annotated, discussing what the students intentions were, whether it was successful and the design elements and principles used.
17
student work 04
Students must research at least 10 images according to their chosen interest for their monogram design. Students were encouraged to think about their typeface design as organic or geometric to help them start their inspiration. All inspiration images needed to be annotated. Student C was encouraged to go into greater depth for her research. 18
0 4
STUDENTS WORK
04 student work
The development activity got students to choose a favourite design from their generation. Students needed to look at their design and see how stroke (new vocabulary) could be improved in their designs. They also needed to look at the design elements and principles (previous knowledge) and gauache experimentation. All work needed to be annotated. 19
student work 04
On her own accord Student C pushed her experimentation with gauache and her pattern design from her cultural inspiration. Her brainstorming page was extra work which she sed to map out her thoughts in a visual way.
20
0 4
STUDENT WORK
04 student work
Refinement was an extra stage if the design process (not normally covered in younger year levels) which student C went through. In this stage she went into more detail in finishing her typography design and her colour choices for her gauache. She completed two mock ups before moving onto her final design.
21
student work 04
22
0 4
STUDENT WORK
04 student work
Student B’s final work. Though a more simple design she has gone through the design process and developed her monogram through each stage. Looking at other students work was overwhelming for her and she tends to change her design. However through this project we worked together and she has stuck to her own ideas and process.
23
student work 04
Student C’s final work. The mock up assisted her with placement and she was able to add the final touches of the drip marks.
24
0 4
RESOURCES
05 resources
05
Below are the resources used for the monogram project to engage students and provide them with various forms of information for the project. Each of the powerpoints was followed by a hands on activity outlined in section 4.
RESOURCES
5a Teacher resources
Monogram
Monogram - Generation
visual communication design
visual communication design
Monogram
Generation
A monogram is a motif made by overlapping or combining two or more letters or other graphemes to form one symbol. Monograms are often made by combining the initials of an individual or a company, used as recognizable symbols or logos.
In the initial stages of a brief, designers respond in a variety of ways. Throughout the development of the visual communication the designer continues to be open to the development of new ideas.
Your Task
Anatomy of Typography
Designers often begin the design process with simple thumbnail sketches to get the feel of their initial ideas.
You are required to design a monogram of your name. The design must be completed using gouache and consider contrast of colour.
25
resources 05
Anatomy of Typography Baseline: the baseline is the imaginary line upon which a line of text rests.
Meanline: Imaginary line running along the top of non-ascending, lowercase letters.
X Height: Is the distance between the baseline and the mean line. The main body of each lowercase letter fits within this space
Anatomy of Typography
Typography visual communication design
Typography
Ascender: is the part of the letter that is above the mean line.
Learning typography is truly like learning a new language, so I will try to walk the fine line of explaining things so that anyone can understand and using typographic terminology.
Decender: is the part of the letter that is below the baseline.
The inspiration for a typeface can come from anything, a tree, a ladder, rocks, people, old office supplies laying around ... pretty much anything and everything. You could start in a variety of ways, pencils sketches, cutting out paper shapes and moving them around, etc...
Serif and Sans Serif: Serifs are the small ticklike lines at the end of character strokes. Sans Serif is without.
Your Task Go onto dafont website and collect 6 types of font that you think will be good to adapt for your monogram. http://www.dafont.com Take a screen shot of the 6 fonts that you like and print them out. Cut and paste in your books. Take notes on why you chose them.
Generation In the initial stages of a brief, designers respond in a variety of ways. Throughout the development of the visual communication the designer continues to be open to the development of new ideas. Designers often begin the design process with simple thumbnail sketches to get the feel of their initial ideas.
26
0 5
RESOURCES
05 resources
05 RESOURCES
5a Teacher resources
Step 1 - Get inspired...
Step 3 - Creating...
Get inspired: Decide what kind of typeface you want to create. Ask yourself what you want to do with the typeface your creating... Do you want to create a typeface from your handwriting? Do you want to use it for big bold, headline type? Or are looking to use it as text in a book? Having a general idea of what your end goal is, will help to make a lot of the decisions throughout the process of creating a typeface.
To help you create your letters with the shapes try overlapping the shapes.
Step 2 - Geometry...
Step 4 - Stroke...
Geometry: Because the basis for a typeface is basic geometry, start by using the most basic shapes -- line, square, circle and triangle.
Stroke: Start to experiment with stroke weight. You may want certain parts of your letters thicker than others.
If your design is more fluid you may choose to use organic shapes such as leaves or flowers.
Step 3 - Creating...
Step 5 - Establish a grid...
Creating: Simply start creating characters (letter forms). As you can see (in grey) I am just using a triangle and a horizontal line to create the ‘A’ shape. Now that’s keeping it simple.
Grid: As you start creating more and more amazing characters things can get a little messy. Using a grid is the best way to gain consistency throughout your letters. For example, when creating letters that are similar in structure like the E and F and H, using a grid will help to keep the horizontal lines, or cross bars, of letters at the same height (orange).
Experiment with shapes and the forms of the letters. Using the square shape you could have the A ‘lean’ to the left or right.
27
resources 05
Step 5 - Establish a grid...
Step 7 - Serif and Sans Serif...
Grid: Some parts of lowercase letters will go below the set baseline, known as descenders, so establish a guideline (descent line) for that. Notice that the lowercase letters are consistent with the uppercase, in that the mean line establishes the height (x-height) of the lowercase letters (5). And when lowercase letters have parts that extend past (ascenders) the mean line, they are consistent with the cap line (6).
Serif and Sans Serif: Establish a secondary system for curved strokes. My system, in most cases, is to end each curve with the same angle. A tip to get the same angle is , again, to use a ‘white shape’ to chop or trim each stroke.
Step 6 - Proportion... Proportion: The guidelines will allow you to stay consistent when developing the height of the letters. You also want to keep in mind the width of the characters you are creating. Typically, the uppercase ‘M’ will be the widest character and the lowercase ‘i’ or exclamation point will be the slimmest. Be sure to keep your letter consistent and proportional.
Step 7 - Serif and Sans Serif... Serif and Sans Serif: Even if you are doing sans serif you do have to be sure that you are consistent with how you end each ‘stroke’, or ‘ends of letters’. In-order to establish consistent terminal endings, simply follow the grid system by ending the stoke horizontally at the appropriate grid line.
28
0 5
RESOURCES
05 resources
05 RESOURCES
5a Teacher resources
What is colour: Colour is a visual sensation produced by light. Colour is usually identified by its name.
Using Gauache visual communication design
Colour Theory
Tutorial Watch the tutorial to learn about the basics for using gauache.
In the visual arts, colour theory is a body of practical guidance to colour mixing and the visual effects of a specific colour combination. There are also definitions (or categories) of colours based on the colour wheel: primary colour, secondary colour and tertiary colour. Colour is a visual sensation produced by light. Colour is usually identified by its name. For example: • red • green • blue
Primary, Secondary + Tertiary Primary colours cannot be mixed from other colours. (red, blue and yellow) Secondary Colours are two primary colours mixed together. (red + blue = purple, blue + yellow = green, red + yellow = orange) Tertiary colours are combinations of primary and secondary colours. (redorange, yellow-orange, yellow-green, blue-green, blue-violet, and red-violet.
Colour Theory visual communication design 29
resources 05
Tints, Shades + Tones Every individual colour on the Basic Colour Wheel can be altered in three ways by Tinting, Shading or Toning. Tints are sometimes called pastels. Basically it’s any colour with white added. Shades are simply any colour with black added. Tones are created by adding both white and black which is grey. Any colour that is “greyed down” is considered a Tone.
Triadic, Analogous + Split Complementary Triadic colours are three colours that are evenly spaced around the colour wheel. Analogous colours are groups of three colours that are next to each other on the colour wheel, with one being the dominant colour, which tends to be a primary or secondary colour, and one on either side of the colour. Red, red-orange, and redviolet are examples. Split Complementary colours consist of a base colour plus the two colours that are adjacent to the base colour’s complement on the colour wheel.
Triadic, Analogous + Split Complementary
30
0 5
RESOURCES
05 resources
05 RESOURCES
5a Teacher resources
31
resources 05
32
0 5
STUDENT FEEDBACK
06 student feedback
06
Teacher evaluation by students was conducted at the beginning of the project. This provided me with areas that I can an improve on and areas which are currently working well.
STUDENT FEEDBACK
6a Teacher evaluation
33
student feedback 06
34
0 6
TEACHER NOTES
07 teacher notes
07
Teacher notes taken on individual students during one on one discussions and teacher observations. Notes are used to keep a track of student-centered learning and discussions.
TEACHER NOTES
7a Teacher’s notes on students
35
teacher notes 07
36
0 7
PROFESSIONAL DEVELOPMENT
08 professional development
08
A record of all professional development conducted by provisional teacher.
PROFESSIONAL DEVELOPMENT
8a Professional Development record
37
professional development 08
38
0 8