PORTFOLIO LEAH CARDENAS
MY PHILOSOPHY
STATEMENT OF TEACHING PHILOSOPHY REFLECTING ON MY PRACTICE, I REALIZE THAT MY TEACHING PHILOSOPHY HAS COME FROM RECOGNIZING AND USING STUDENTS’ NEEDS TO MAKE INSTRUCTIONAL CHOICES AND LESSON PLANNING. IN THIS WAY, I ENSURE THAT STUDENTS GRASP AND INTERNALIZE THE ENDURING UNDERSTANDINGS AND BELIEFS THAT UNDERPIN MY TEACHING. THESE BELIEFS INCLUDE STUDENTS BEING PREPARED FOR PERSONAL AND PROFESSIONAL SUCCESS IN A GLOBAL, TECHNOLOGY-CENTERED WORLD THROUGH CRITICAL THINKING, WRITING, AND THINKING; UNDERSTANDING THE SELF
THROUGH VISUAL ART AND VICE VERSA, AND ASSUMING RESPONSIBILITY FOR THEIR OWN ACADEMIC GROWTH THROUGH ACTIVE, STUDENT-DIRECTED LEARNING. FOR STUDENTS TO ARRIVE AT ANY OF THESE GOALS. HOWEVER, INSTRUCTION MUST BE BASED ON THEIR NEEDS—THEIR EXISTING LEVELS, EDUCATIONAL GOALS, BACKGROUND, STRENGTHS, WEAKNESSES, AND INTERESTS. IN A HIGHLY VISUAL WORLD IT IS IMPERATIVE THAT OUR FUTURE GENERATION IS ABLE TO REALIZE AND UNDERSTAND VISUAL LANGUAGE.
TABLE OF CONTENTS
Projects
Sample Lesson Plans
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Christian Education
HORROR MOVIE POSTER FOOD TRUCK DRINK LABEL REDESIGN SQUARE PLATE HOT TO MAKE YOUR DRAGON MAKING NEMO CULTURAL MASKS FASHION LABEL DESIGN PICASSO HEAD MOVIE STAR PORTRAITS CRANBOURNE NOW LINO PRINTING MUSEUM EXPERIENCE PAPER MOSAICS
PROJECTS
THE FOLLOWING PROJECTS ARE A CULMINATION OF TASKS THAT I HAVE UNDERTAKEN WHILST COMPLETING MY WORK EXPERIENCE. THE PROJECTS HAVE EITHER BEEN SOLELY DEVELOPED BY MYSELF OR AS PART OF THE TEAMS I WORKED WITH. INCLUDED ARE STUDENT EXAMPLES WHICH I HAVE BEEN GRANTED PERMISSION TO DISPLAY.
UNIT OVERVIEW
HORROR MOVIE POSTER OBJECTIVE
FOLLOWING:
THE HORROR MOVIE POSTER TASK IS A SET TASK THAT IS PART OF THE YEAR 9 VISUAL COMMUNICATION AND DESIGN CURRICULUM AT ST FRANCIS XAVIER COLLEGE.
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FOR THIS TASK STUDENTS ARE REQUIRED TO DESIGN A MOVIE POSTER THAT DEMONSTRATES THEIR UNDERSTANDING OF THE DESIGN CONVENTIONS OF THE HORROR GENRE. THE POSTER IS TO BE COMPLETED ON PHOTOSHOP AND IS TO INCLUDE THE
TITLE MAIN IMAGE A TAG LINE PRODUCTION DETAILS THE STARS NAMES RELEASE DATE A QUOTE
AS PART OF THE PROCESS STUDENTS WILL WORK THROUGH PREPARED TUTORIALS ON PHOTOSHOP WHICH ARE TO BE SUBMITTED ALSO.
WORKSHEETS AND PRESENTATIONS GHOSTLY BLUR TEXT EFFECT IN PHOTOSHOP 1.
8.
PRESS CTRL+J TO DUPLICATE THE LAYER SO WE HAVE 3 COPIED LAYERS.
9.
SELECT THE ORIGINAL ‘BLUR’ LAYER AND GO UP TO THE FILTER MENU AT THE TOP OF THE SCREEN, CHOOSE BLUR, THEN CHOOSE MOTION BLUR.
10.
THIS OPENS PHOTOSHOP’S MOTION BLUR DIALOGUE BOX. CHANGE THE ANGLE OF THE BLUR TO 90° AND DISTANCE VALUE TO AROUND 150 PIXELS.
11.
SELECT THE NEXT LAYER AND GO UP TO THE FILTER MENU AT THE TOP OF THE SCREEN, CHOOSE BLUR, THEN CHOOSE MOTION BLUR.
12.
THIS OPENS PHOTOSHOP’S MOTION BLUR DIALOGUE BOX. CHANGE THE ANGLE OF THE BLUR TO 0° AND DISTANCE VALUE TO AROUND 150 PIXELS.
OPEN PHOTOSHOP BY CLICKING ON THE PHOTOSHOP ICON AT THE BOTTOM OF YOUR SCREEN.
2. OPEN UP A NEW FILE BY CLICKING ON FILE ON THE TOP BAR OF YOUR PAGE AND SCROLL DOWN TO NEW.
3.
IN THE LAYERS PALETTE UNLOCK THE BACKGROUND LAYER BY DOUBLE CLICKING ON THE LOCK. RENAME THE LAYER BACKGROUND.
4.
MAKE SURE YOU HAVE BLACK SELECTED IN THE COLOUR SELECTOR.
5.
SELECT THE PAINT BUCKET TOOL AND PRESS ON THE BACKGROUND TO MAKE IT BLACK.
6.
CLICK THE TEXT TOOL AND CHANGE THE SIZE AND COLOUR TO WHITE. TYPE IN ‘BLUR’.
7.
MAKE SURE THE TYPE LAYER IS SELECTED IN THE LAYERS PANEL (SELECTED LAYERS ARE HIGHLIGHTED IN BLUE), THEN GO UP TO THE LAYER MENU IN THE MENU BAR ALONG THE TOP OF THE SCREEN, CHOOSE RASTERIZE, THEN CHOOSE TYPE.
13.
GO UP TO THE LAYER MENU AND CHOOSE MERGE DOWN, OR PRESS CTRL+E THIS WILL MERGE THE FIRST 2 LAYERS TOGETHER.
21. ADDED.
A LAYER MASK THUMBNAIL APPEARS ON THE TOP LAYER, LETTING US KNOW THAT A MASK HAS BEEN
14.
WITH THIS NEW MERGED LAYER TOGETHER. GO UP TO THE FILTER MENU ONCE AGAIN, CHOOSE BLUR, THEN CHOOSE GAUSSIAN BLUR.
22.
SELECT PHOTOSHOP’S GRADIENT TOOL FROM THE TOOLS PANEL.
23. BOX.
WITH THE LAYER MASK SELECTED MAKE SURE YOUR COLOUR IS BACK IN THE COLOUR SELECTION
15.
DRAG THE RADIUS SLIDER AT THE BOTTOM A LITTLE TOWARDS THE RIGHT TO ADD A SMALL AMOUNT OF BLURRING, JUST ENOUGH TO SOFTEN THE EDGES OF THE MOTION BLUR EFFECT. A RADIUS VALUE OF AROUND 2 PIXELS.
24.
THEN RIGHT-CLICK ANYWHERE WITHIN THE DOCUMENT TO OPEN UP THE GRADIENT SELECTOR PANEL.
25. IN THE OPTIONS BAR ALONG THE TOP OF THE SCREEN, CLICK ON THE REFLECTED GRADIENT ICON TO CHANGE THE STYLE OF GRADIENT WE’RE ABOUT TO DRAW.
16.
CLICK ON THE LAYER DIRECTLY ABOVE THE MERGED LAYER (THE ONE WITH “COPY 2” IN THE NAME) TO SELECT IT.
17.
GO UP TO THE FILTER MENU ONCE AGAIN, CHOOSE BLUR, THEN CHOOSE GAUSSIAN BLUR. MAKE THE RADIUS VALUE RADIUS VALUE TO 8 PIXELS.
18.
SELECT THE TOP LAYER IN THE LAYERS PANEL, WHICH IS THE ONLY TEXT LAYER WE HAVEN’T APPLIED ANY FILTERS TO.
19.
WE NOW WANT TO MERGE THE ABOVE LAYER WITH THE LAYER BELOW. SELECT THE TOP LAYER AND HOLD DOWN THE SHIFT KEY. RIGHT CLICK AND SELECT MERGE LAYERS.
20.
CLICK ON THE LAYER MASK ICON AT THE BOTTOM OF THE LAYERS PANEL.
26. WITH THE REFLECTED GRADIENT OPTION SELECTED, CLICK ANYWHERE ALONG THE HORIZONTAL CENTRE OF THE TEXT TO SET THE STARTING POINT FOR THE GRADIENT. THEN HOLD DOWN YOUR SHIFT KEY AND, WITH YOUR MOUSE BUTTON STILL HELD DOWN, DRAG STRAIGHT UP TO THE TOP OF THE TEXT. HOLDING THE SHIFT KEY AS YOU DRAG MAKES IT EASIER TO DRAG STRAIGHT UPWARD. RELEASE YOUR MOUSE. 27.
PRESS CTRL+J TO QUICKLY DUPLICATE THE LAYER.
28. YOU CAN INCREASE THE GLOW EVEN MORE SIMPLY BY DUPLICATING THE LAYER AGAIN AND MAKE 3 COPIES.
PRESS CTRL+J
29. WITH THE TOP LAYER SELECTED CLICK ON THE NEW ADJUSTMENT LAYER ICON AT THE BOTTOM OF THE LAYERS PANEL. CHOOSE HUE/SATURATION FROM THE LIST OF ADJUSTMENT LAYERS THAT APPEARS.
30.
CHANGE THE HUE VALUE TO 123 AND SATURATION VALUE TO 40.
WORKSHEETS AND PRESENTATIONS
HORROR MOVIE POSTERS VISUAL COMMUNICATION AND DESIGN
HOW CAN WE MAKE THE ROSES RED?
HOW CAN WE MAKE BACK LIGHT EFFECT? >FILTER >RENDER >LIGHTING EFFECTS
HORROR MOVIE POSTERS
HOW CAN WE MAKE THE text have a gradient? >LAYER >RASTERIZE> TYPE
VISUAL COMMUNICATION AND DESIGN HOW CAN WE MAKE THE EYES RED?
HOW CAN WE MAKE FACE LOOK GRAINY? >FILTER >DISTORT > DIFFUSE GLOW
HOW CAN WE CHANGE THE TEXT COLOUR, FONT AND SIZE?
STUDENTS WORK
8 DAYS
TO LIVE
UNIT OVERVIEW
FOOD TRUCK TASK STUDENTS HAVE BEEN WORKING TOWARDS COMPLETING THE DESIGN OF A FOOD FONT THAT IS PART OF A PARTICULAR CHOSEN CUISINE. EG. MEXICAN - TACOS THESE FOOD FONTS WILL BE DISPLAYED ON A MENU FOR A FOOD TRUCK FRANCHISE COMPANY. THE PURPOSE IS TO PROMOTE THE FOOD TRUCK AND INFORM THE CUSTOMERS OF THE MENU ITEMS AND THEIR
INGREDIENTS. AS PART OF AN EXTENSION OF THIS TASK STUDENTS WILL FURTHER REFINE THEIR DESIGNS BY USING ILLUSTRATOR. LESSONS: INTRODUCTION RESEARCH GENERATION DEVELOPMENT REFINEMENT PRESENTATION
WORKSHEETS AND PRESENTATIONS
thinking about colour VISUAL COMMUNICATION AND DESIGN
all climate
SOLUTIONS
STUDENTS WORK
Stars and stripes
Gredel Titus Madeleine Reincastle
UNIT OVERVIEWS
DRINK LABEL REDESIGN TASK THE DRINK LABEL REDESIGN TASK HAS BEEN DESIGNED TO TEACH STUDENTS ABOUT THE DESIGN PROCESS. THEY WILL WORK THROUGH EACH PHASE OF THE PROCESS TO REDESIGN A DRINK LABEL. THE TASK HAS ALSO BEEN DESIGNED TO TEACH STUDENTS ABOUT WORKING TO A DESIGN BRIEF AND TO KEEP AESTHETIC RESTRICTIONS IN MIND WHEN DESIGNING.
THE UNIT OF WORK: THE DESIGN BRIEF RESEARCH INSPIRATION GENERATION DEVELOPMENT USING ILLUSTRATOR REFINEMENT PRESENTING PRESENTATION
WORKSHEETS AND PRESENTATIONS VISUAL COMMUNICATION AND DESIGN YEAR 9
CHECKLIST
DESIGNING A DRINK LABEL
All of the following (at a minimum) are to be completed by the due date and presented in your visual diaries.
BRIEF
Students are to redesign a drink label of an existing bottle (eg. Soft drink, fruit juice, water).
The client wishes the label to be designed for a ‘youth’ audience. Therefore, the design should be imaginative and bright so it will appeal to this target audience.
1 x page design research
1 x page inspiration
1 x page observational drawings
2 x pages generation
2 x pages development
1 x page refinement
SPECIFICATIONS • Size and shape should be appropriate to the bottle you have chosen. •
The label must be in full colour with both an image and font.
• The label is to be easily scanned and manipulated in Photoshop/ Illustrator. This will depend on the desired effect of the design.
TASK •
Research ideas for a drink label (bring chosen bottle to class)
•
Gather Inspiration. These may be images, photos, clippings from magazines, internet etc
•
Try and complete some Observational drawings from either your research material or your surroundings
•
Brainstorm and Generate ideas and alternative designs for the images and font of your bottle
(www.freefonts.com and www.dafont.com)
•
Develop your ideas experimenting with design elements and principals and trial a range of media and materials.
• Select an appropriate design and begin to Refine using Photoshop/Illustrator
1 x page final design
ASSESSMENT RUBRIC
Dear designer, We are a large multinational drink company. Our products have been on Australian shelves for many years and our consumers know and trust our brand.
BOTTLE LABEL DESIGN
HIGH
MEDIUM
LOW
TIME MANAGEMENT
USED TIME WELL DURING EACH PERIOD. FOCUSED ON GETTING THE PROJECT COMPLETED IN THE ALLOCATED AMOUNT OF TIME.
USED TIME WELL DURING EACH PERIOD. USUALLY FOCUSED ON GETTING THE PROJECT COMPLETED IN THE ALLOCATED AMOUNT OF TIME.
DID NOT USE CLASS TIME TO FOCUS ON THE PROJECT OR OFTEN DISTRACTED OTHERS.
GRAPHICS CLARITY
GRAPHICS ARE USED EFFECTIVELY AND HAVE A STRONG IMPACT ON THE TOTAL DESIGN. GRAPHICS APPEAL TO THE TARGET AUDIENCE.
MOST GRAPHICS ARE USED EFFECTIVELY AND GENERALLY HAVE A STRONG IMPACT ON THE DESIGN. GRAPHICS GENERALLY APPEAL TO THE TARGET AUDIENCE.
GRAPHICS FAIL TO CONVEY MEANING TO THE DESIGN. GRAPHICS DO NOT APPEAL TO THE TARGET AUDIENCE.
GRAPHICS ORIGINALITY
THE GRAPHICS AND FONT USED REFLECT AN EXCEPTIONAL DEGREE OF STUDENT CREATIVITY. THERE IS A CLEAR THOUGHT PROCESS TO THE DESIGN.
THE GRAPHICS AND FONT USED REFLECT A GOOD DEGREE OF STUDENT CREATIVITY. THERE IS THOUGHT PROCESS TO THE DESIGN.
THE GRAPHICS AND FONT USED DO NOT DEMONSTRATE ANY ORIGINAL THOUGHT OR CREATIVITY. THERE IS NOT THOUGHT PROCESS TO THE DESIGN.
OVERALL DESIGN
THE DESIGN PROJECT IS EXCEPTIONALLY ATTRACTIVE IN TERMS OF DESIGN, LAYOUT, NEATNESS, SIZE AND COMPOSITION.
THE DESIGN PROJECT IS ATTRACTIVE IN TERMS OF DESIGN, LAYOUT, NEATNESS, SIZE AND COMPOSITION.
THE DESIGN PROJECT IS DISTRACTINGLY CLUTTERED OR DEVOID OF NECESSARY ELEMENTS AND VERY POORLY DESIGNED.
PROJECT TASKS
ALL TASKS HAVE BEEN ALL TASKS HAVE BEEN COMPLETED NEATLY AND COMPLETED BUT NOT ANNOTATED WELL. PRESENTED NEATLY.
NOT ALL THE TASKS HAVE BEEN COMPLETED.
However our company is failing to reach the youth of Australia. We want you to redesign our label that will be displayed on our bottles. We want a new look that is bright and eye catching while still holding to our company’s philosophy and values. The target audience for this limited edition bottle label will be youth, aged 13-18, who are looking for a refreshing drink with great taste. There are constraints for the design work. The company logo will need to be clearly displayed on the bottle. Barcodes and all nutritional information must be clearly located somewhere on the bottle. Our company slogan must be on the label or a new slogan may be devised. The name of the drink must be the main element of the label and must tie in well with designed graphics. We want the label to be bright and eye catching. We look forward to meeting with you to further discuss this exciting new redesign. Completion date for this project will be discussed in our first meeting. CHARLES WALDORFF
TOTAL
/25
DIRECTOR, DRINK COMPANY PTY LTD
WORKSHEETS AND PRESENTATIONS THE DESIGN PROCESS THE DESIGN PROCESS IS A CYCLE. IT BEGINS WITH THE DESIGN BRIEF WHICH IDENTIFIES THE COMMUNICATION NEED. INFORMATION SUCH AS TARGET AUDIENCE, CHARACTERISTICS, PURPOSE AND CONSTRAINTS ARE IDENTIFIED IN THE BRIEF.
THE DESIGN PROCESS
MOVING THROUGH THE DESIGN PROCESS THERE ARE SET STEPS A DESIGNER GOES THROUGH TO ENSURE THE FINAL PRODUCT IS A WELL THOUGHT OUT IMAGINATIVE DESIGN.
VISUAL COMMUNICATION AND DESIGN
UNPACKING THE BRIEF Dear designer, We are a large multinational drink company. Our products have been on Australian shelves for many years and our consumers know and trust our brand. However our company is failing to reach the youth of Australia. We want you to redesign our label that will be displayed on our bottles. We want a new look that is bright and eye catching while still holding to our company’s philosophy and values. The target audience for this limited edition bottle label will be youth, aged 13-18, who are looking for a refreshing drink with great taste.
DESIGN CONSTRAINTS There are constraints for the design work. The company logo will need to be clearly displayed on the bottle. Barcodes and all nutritional information must be clearly located somewhere on the bottle. Our company slogan must be on the label or a new slogan may be devised. The name of the drink must be the main element of the label and must tie in well with designed graphics. We want the label to be bright and eye catching. We look forward to meeting with you to further discuss this exciting new redesign. Completion date for this project will be discussed in our first meeting.
BRIGHT PATTERN SHAPE
EXAMPLES
FONT HIERARCHY SIMPLE COLOURS
IMAGES COLOURS MATCH DRINK COLOUR FONT IS CLEAR
WORKSHEETS AND PRESENTATIONS
RESEARCH FOR DESIGN VISUAL COMMUNICATION AND DESIGN
RESEARCH RESEARCH INVOLVES THE COLLECTION OF VISUAL INFORMATION, DATA AND ARTICLES TO ASSIST THE UNDERSTANDING AND DEVELOPMENT OF THE BRIEF. RESEARCH IS MORE THAN SIMPLY COLLECTING IMAGES FROM MAGAZINES. DESIGNERS USE A RANGE OF SOURCES INCLUDING BOOKS, INTERNET, MARKET RESEARCH, FOCUS GROUPS ETC.
Designer of the week PAUL RAND GRAPHIC DESIGNER
PAUL RAND
“The International Typographic Style, also known as the Swiss Style, is a graphic design style developed in Switzerland in the 1950s that emphasizes cleanliness and readability.
WORKSHEETS AND PRESENTATIONS OBSERVATION OBSERVATIONAL DRAWING HELPS THE DESIGNER TO BUILD UP THEIR DRAWING SKILLS. BY OBSERVING AN OBJECT IN ITS NATURAL ENVIRONMENT IT HELPS US TO THINK BOUT THE SCALE AND THE SPECIFIC ASPECTS OF THE OBJECT.
INSPIRATION AND OBSERVATIONAL DRAWINGS VISUAL COMMUNICATION AND DESIGN
INSPIRATION FOR INSPIRATION WITH THEIR FINAL DESIGNS, DESIGNERS OFTEN USE A COLLAGE OF IMAGES, WORDS AND IDEAS. PUTTING EVERYTHING ON THE PAGE HELPS A DESIGNER TO LOOK THROUGH AND PIC OUT THE THINGS THAT THEY CAN USE IN THE NEXT STAGE.
Designer of the week
SAUL BASS GRAPHIC DESIGNER
SAUL BASS
was an American graphic designer and Academy Award winning filmmaker, best known for his design of motion picture title sequences, film posters, and corporate logos. Bass is famous for his use of simple, geometric shapes and their symbolism.
WORKSHEETS AND PRESENTATIONS
DEVELOPMENT OF IDEAS VISUAL COMMUNICATION AND DESIGN
DEVELOPMENT DESIGN DEVELOPMENT IS THE CONTINUATION AND IMPROVEMENT OF A DESIGN SOLUTION. HERE DESIGNERS TEST THE DESIGN ELEMENTS AND PRINCIPALS WHILE ALSO EXPERIMENTING WITH DIFFERENT MEDIA. EACH ITERATION IN DESIGN DEVELOPMENT SHOULD LOOK DIFFERENT FROM THE PREVIOUS.
Designer of the week MILTON GLASER GRAPHIC DESIGNER
MILTON GLASER
Glaser has been a prolific creator of posters and prints. His artwork has been featured in exhibits worldwide. Glaser is a renowned graphic and architectural designer with a body of work ranging from the iconic logo to complete graphic and decorative programs for the restaurants in New York.
STUDENTS WORK
UNIT OVERVIEW
SQUARE PLATE TASK
THE SQUARE PLATE PROJECT WILL COVER SEVERAL LESSONS:
THE SQUARE PLATE PROJECT IS A GREAT INTRODUCTION TO POTTERY. THE OPEN SURFACE OF THE PLATE DESIGN PROVIDES A GREAT CANVAS FOR STUDENTS TO LEARN THE TECHNIQUE OF GRAFFITO.
INTRODUCTION TO ANCIENT GREEK ART PLATE DEMONSTRATION DESIGNING THE PLATE CREATING THE PLATE PAINTING SCRATCHING EXHIBITING THE WORK
THIS PROJECT ALSO ENABLES THE TEACHER TO BEGIN TO DEVELOP A VOCABULARY OF CERAMICS AND THE ANCIENT GREEK PERIOD.
STUDENTS WORK
UNIT OVERVIEW
HOW TO TRAIN YOUR DRAGON TASK HOW TO MAKE YOUR DRAGON IS A UNIT OF WORK THAT IS THEMED ON THE HOW TO TRAIN YOUR DRAGON MOVIE. THE SEQUENTIAL LESSONS TEACH STUDENTS HOW TO PLAN AND DEVELOP A DRAGON OUT OF CLAY. THE PROJECT LOOKS AT MYTHICAL CREATURES AND ENCOURAGES STUDENTS TO BE CREATIVE IN CREATING THEIR OWN TYPE OF DRAGON IE. WATER, FIRE BREATHING, CHINESE, FEATHERED ETC
THE PROJECT WILL COVER: DRAGON MYTHOLOGY HOW TO MAKE YOUR DRAGON DRAWING DRAGONS CREATING THE CLAY DESIGN PAINTING PRESENTATION
WORKSHEETS AND PRESENTATIONS DRAGONS ARE MYTHICAL CREATURES WITH REPTILIAN TRAITS. THERE ARE 2 DISTINCT CULTURAL TRADITIONS OF DRAGONS, THE EUROPEAN AND THE ASIAN. THE ENGLISH WORD DRAGON IS DERIVED FROM THE GREEK WORD DRAKON WHICH MEANS: year 7 art
‘SERPANT OF HUGE SIZE’
in Asian cultures dragons seen as a representative of nature, religion and the universe. they are associated with wisdom and are said to posses magic. in European cultures dragons were seen as creatures who would destroy.
TEXTURE
AS DRAGONS ARE A REPTILIAN CREATURE THEY ARE SEEN TO HAVE A SCALY SKIN. IN MANY LEGENDS THEIR SKIN IS BELIEVED TO BE EXTREMELY STRONG AND ROUGH.
STUDENTS WORK
UNIT OVERVIEW
MAKING NEMO TASK THE MAKING NEMO TASK HAS BEEN DESIGNED TO TEACH STUDENTS ABOUT SCULPTURE AND TO EXPERIMENT WITH CLAY. THEY WILL WORK THROUGH A SET OF STEPS TO PRODUCE A PINCH PIT FISH. THE TASK HAS ALSO BEEN DESIGNED TO TEACH STUDENTS ABOUT WORKING WITH NEW TOOLS AND MEDIUM. WORKING THROUGH 2D AND 3D COMPONENTS STUDENTS WILL DEVELOP A RANGE OF NEW SKILLS AND TECHNIQUES.
STUDENTS WORK
UNIT OVERVIEW
CULTURAL MASKS TASK THE CULTURAL MASK TASK HAS BEEN DESIGNED TO TEACH STUDENTS ABOUT SCULPTURE AND CULTURAL DESIGNS. THEY WILL WORK THROUGH A SET OF STEPS TO PRODUCE A FACE MASK. THE TASK HAS ALSO BEEN DESIGNED TO TEACH STUDENTS 3D DESIGN AND WORKING THROUGH A SET OF STEPS THROUGH DESIGN AND MAKING TO CREATE A MASK.
THE TASK ALLOWS STUDENTS TO EXPLORE THEIR OWN CULTURES OR ONE THAT THEY MAY BE INTERESTED IN.
STUDENTS WORK
UNIT OVERVIEW
FASHION LABEL DESIGN TASK THE FASHION LABEL DESIGN TASK HAS BEEN DESIGNED TO TEACH STUDENTS ABOUT THE DESIGN PROCESS. THEY WILL WORK THROUGH EACH PHASE OF THE PROCESS TO DESIGN A FASHION LABEL.
THE UNIT OF WORK:
THE DESIGN BRIEF RESEARCH INSPIRATION GENERATION DEVELOPMENT USING ILLUSTRATOR REFINEMENT THE TASK HAS ALSO BEEN DESIGNED TO PRESENTING TEACH STUDENTS ABOUT WORKING TO A PRESENTATION DESIGN BRIEF AND TO KEEP AESTHETIC RESTRICTIONS IN MIND WHEN DESIGNING.
WORKSHEETS AND PRESENTATIONS
THE DESIGN PROCESS VISUAL COMMUNICATION AND DESIGN
FONT SHAPE CONTRAST
THE DESIGN PROCESS THE DESIGN PROCESS IS A CYCLE. IT BEGINS WITH THE DESIGN BRIEF WHICH IDENTIFIES THE COMMUNICATION NEED. INFORMATION SUCH AS TARGET AUDIENCE, CHARACTERISTICS, PURPOSE AND CONSTRAINTS ARE IDENTIFIED IN THE BRIEF. MOVING THROUGH THE DESIGN PROCESS THERE ARE SET STEPS A DESIGNER GOES THROUGH TO ENSURE THE FINAL PRODUCT IS A WELL THOUGHT OUT IMAGINATIVE DESIGN.
BRIGHT PATTERN SHAPE
STUDENTS WORK
UNIT OVERVIEW
PICASSO HEAD TASK PICASSO HEAD IS A GAME CREATED TO ALLOW STUDENTS TO CREATE THEIR OWN CUBIST DRAWING. THE GAME USES FEATURES DRAWN BY PICASSO. THE FEATURES ARE CARVED FROM LINO TO CREATE STAMP TOOLS FOR THE STUDENTS TO USE AND EXPERIMENT WITH THE CUBIST PROFILES. THE GAME IS TARGETED AT YEAR 7S AND 8S DEPENDING ON THEIR PROFICIENCY LEVEL. IT CAN BE USED AS A FUN INTRODUCTORY TASK. IT CAN ALSO BE USED AS A QUICK METHOD TO EXPLAIN THE CUBIST USE OF DIFFERENT PROFILES WITHIN THE ONE IMAGE. BY USING THE STAMPS IT WILL TAKE THE PRESSURE OFF THE STUDENTS TO DRAW THEIR PORTRAITS AND HELP THEM TO WORK ON COLOUR AND TONE.
THE GAME HAS BEEN CREATED AS AN INTRODUCTION TO A LARGER CUBISM UNIT. IT IS A VISUAL AID TO ASSIST STUDENTS INTERACTIVELY UNDERSTAND MULTIPLE PROFILES. THE LEARNING OBJECTIVES FOR A LESSON THAT WOULD USE THE PICASSO HEAD GAME ARE: - STUDENTS WILL GAIN AND UNDERSTANDING OF THE COMPOSITION AND STYLE OF A CUBIST PORTRAIT. - STUDENTS APPLY THEIR KNOWLEDGE OF CUBISM WITH GUIDANCE OF THE PICASSO HEAD GAME. STUDENTS WILL DEVELOP AN UNDERSTANDING OF STYLE WHEN SELECTING AND USING DIFFERENT MEDIA AND MATERIALS. THIS WILL EXPLORE AND EXPAND THEIR UNDERSTANDING AND USE OF A RANGE OF SKILLS, TECHNIQUES AND PROCESSES IN THE DISCIPLINE OF ART.
WORKSHEETS AND PRESENTATIONS PROJECT OUTLINE PICASSO HEAD GAME PICASSO HEAD IS A GAME CREATED TO ALLOW STUDENTS TO CREATE THEIR OWN CUBIST DRAWING. THE GAME USES FEATURES DRAWN BY PICASSO.
GALLERY EYES
THE FEATURES ARE CARVED FROM LINO TO CREATE STAMP TOOLS FOR THE STUDENTS TO USE AND EXPERIMENT WITH THE CUBIST PROFILES. THE GAME IS TARGETED AT YEAR 7S AND 8S DEPENDING ON THEIR PROFICIENCY LEVEL. IT CAN BE USED AS A FUN INTRODUCTORY TASK. IT CAN ALSO BE USED AS A QUICK METHOD TO EXPLAIN THE CUBIST USE OF DIFFERENT PROFILES WITHIN THE ONE IMAGE. BY USING THE STAMPS IT WILL TAKE THE PRESSURE OFF THE STUDENTS TO DRAW THEIR PORTRAITS AND HELP THEM TO WORK ON COLOUR AND TONE. THE GAME HAS BEEN CREATED AS AN INTRODUCTION TO A LARGER CUBISM UNIT. IT IS A VISUAL AID TO ASSIST STUDENTS INTERACTIVELY UNDERSTAND MULTIPLE PROFILES.
NOSE
WEEPING WOMAN, PABLO PICASSO (1937).
GALLERY MOUTH
FACE
EARS
JACQUELINE WITH FLOWERS, PABLO PICASSO (1901).
UNIT OVERVIEW
MOVIE STAR PORTRAITS TASK MOVIE STAR PORTRAITS IS A TASK WHICH ALLOWS STUDENTS TO BUILD UP THEIR CONFIDENCE TO DRAW. STUDENTS IMAGE OF THE MAIN STUDENTS CREATE A
EITHER TRACE OR DRAW AN A MOVIE STAR PROVIDED. FOCUS OF THE TASK IS FOR TO LEARN HOW TO SHADE TO REALISTIC PORTRAIT.
STUDENTS WORK
UNIT OVERVIEW
CRANBOURNE NOW TASK THE CRANBOURNE NOW PROJECT IS A VCE BASED ASSIGNMENT FOR UNIT 2 ART. THIS AREA OF STUDY FOCUSES ON THE WAY IN WHICH ART REFLECTS AND COMMUNICATES THE VALUES, BELIEFS AND TRADITIONS OF THE SOCIETIES IN WHICH THEY WERE CREATED. STUDENTS EXPLORE, COMMUNICATE AND INVESTIGATE THE WAY IN WHICH THE WORLD AND ARTIST HAVE CHANGED OVER TIME. THEY APPLY THE FORMAL AND CULTURAL FRAMEWORK IN THEIR ANALYSIS AND INTERPRETATION OF THE ARTISTS.
THE PROJECT ASKS FOR STUDENTS TO CREATE AN ARTWORK THAT REPRESENTS HOW THEY FEEL ABOUT CRANBOURNE.
STUDENTS WORK
UNIT OVERVIEW
LINO PRINTING TASK LINO PRINTING IS A GREAT ACTIVITY AS PART OF A LARGER PROJECT. FOR EXAMPLE A LOGO DESIGN. IT A GOOD HANDS ON WAY TO TEACH STUDENTS ABOUT POSITIVE AND NEGATIVE SPACE. IF THE TASK WAS NOT BE PART OF A LARGER PROJECT THE TEACHER COULD BASE THE PROJECT AROUND A TOPIC THAT STUDENTS ARE STUDYING IN OTHER SUBJECTS. FOR EXAMPLE JAPANESE OR HISTORY AND STUDENTS COULD DESIGN A CULTURAL PRINT OR CHARACTERS.
STUDENTS WORK
UNIT OVERVIEW
MUSEUM EXPERIENCE THROUGHOUT THE LEARNING TASK STUDENTS WILL BE FIRSTLY ASKED TO ANALYSE THE DIFFERENCE BETWEEN THE LEARNING TASK HAS BEEN PICASSO’S EARLIER WORKS AND HIS DESIGNED TO ENCOURAGE STUDENTS TO LATER WORKS (HIS TRANSITION INTO EXPLORE THE GUGGENHIEM MUSEUM AND THE CUBIST PERIOD). A SERIES OF PICASSO’S CUBIST STYLE. FOLLOWING QUESTIONS WILL ASK STUDENTS TO A CONSTRUCTIVIST APPROACH TO THE DEFINE THE CUBIST STYLE AND THE LEARNING STUDENTS WILL BEGIN USE OF ELEMENTS AND PRINCIPALS. BY WORKING IN PAIRS AND MAKING SECONDLY, STUDENTS WILL BE ASKED THEIR WAY THROUGH THE FIRST PART TO CREATE THEIR OWN CUBIST OF THE LEARNING TASK. AFTER THE PORTRAIT. THIRDLY, STUDENTS WILL EXCURSION THEY WILL THEN MOVE TO EVALUATE HOW THEIR WORK DEPICTS AN INDIVIDUAL LEARNING ACTIVITY TO THE CUBIST STYLE AND HOW THEY ENCOURAGE HIGHER ORDER THINKING REPRESENTED A PARTICULAR MOOD. AND LEARNING.
TASK
WORKSHEETS AND PRESENTATIONS GROUP WORK SHEETS THE GUGGENHIEM MUSEUM EXPERIENCE PICASSO BLACK AND WHITE THE GUGGENHIEM MUSEUM’S BLACK AND WHITE EXHIBITION EXCURSION WILL BE AN EXTENSION OF OUR CURRENT CUBISM TOPIC. YOU WILL BE PLACED INTO PAIRS AND WORK THROUGH THE ASSIGNED TASK. IT IS IMPORTANT THAT YOU COMPLETE THE TASK IN THE ALLOCATED TIME TO PREPARE YOU FOR THE HOMEWORK ASSIGNMENT. WHILE WORKING THROUGH THE QUESTIONS REMEMBER TO MAKE GOOD USE OF THE CUBISM VOCABULARY THAT WE HAVE BEEN BUILDING IN CLASS. ALSO WHEN WORKING THROUGH THE QUESTIONS MAKE SURE YOU ARE THINKING ABOUT THE DESIGN ELEMENTS AND PRINCIPALS.
EARLY WORKS LEVEL 1 1. CHOOSE ONE OF THE WORKS ON LEVEL 1 (WRITE DOWN THE NAME OF THE WORK AND THE YEAR) AND DESCRIBE THE STYLE OF PICASSO’S EARLIER WORK. MAKE SURE YOU USE THE DESIGN ELEMENTS AND PRINCIPALS TO DESCRIBE THE WORK AND NOT JUST LIST THEM.
2. CHOOSE ANOTHER PAINTING ON LEVEL 1 AND LOOK AT THE WAY PICASSO HAS USED ONE OF THE DESIGN ELEMENTS AND PRINCIPALS. IN YOUR VISUAL DIARY CHOOSE A PART OF THE WORK AND DRAW THIS TECHNIQUE. FOR EXAMPLE: HEAD OF MAN, 1908 YOU MAY CHOOSE TO LOOK AT HIS USE OF TEXTURE AND TRY AND USE THE SAME TECHNIQUE AND DO A STUDY OF THE EYE
EARLY WORKS LEVEL 2 3. FIND A WORK OR WORKS WHICH SHOW THE FOLLOWING CUBIST TECHNIQUES: GEOMETRIC SHAPES, ANGLES, FRAGMENTATION AND MULTIPLE VIEWS. MAKE SURE YOU SAY WHERE AND HOW PICASSO HAS USED THESE TECHNIQUES.
LATER WORKS LEVEL 3 4. FIND A WORK WHICH WHERE PICASSO REPRESENTED AN OBJECT OR SUBJECT FROM MULTIPLE ANGLES. DRAW EACH OF THESE ANGLES AND LABEL THEM. EG. FRONT, LEFT PROFILE, RIGHT PROFILE ETC. 5. WHAT WORDS WOULD YOU USE TO DESCRIBE THE ART WORK?
LATER WORKS LEVEL 4 6. CHOOSE A WORK AND TRY AND FIGURE OUT THE MOOD OR EMOTION OF THE WORK. PAY PARTICULAR ATTENTION TO THE TONE, LINE WORKINGS AND COMPOSITION OF THE WORK. DESCRIBE WHY THE WORK MADE YOU FEEL A PARTICULAR WAY AND HOW YOU THINK PICASSO WAS ABLE TO DO THIS. 7. CHOOSE ANOTHER WORK AND FIND ALL THE GEOMETRIC SHAPES. COPY EACH OF THESE SHAPES AND WRITE DOWN WHERE EACH OF THESE SHAPES WERE USED.
EG.
WAS USED TO REPRESENT A LEG
LAST WORKS LEVEL 5 8. FIND ONE OF PICASSO’S FEMALE PORTRAITS. HOW DOES HER APPEARANCE DIFFER FROM THAT OF A REAL WOMAN? CONSIDER THE SHAPES, LINES, COLOURS AND VIEWPOINT USED. 9. HOW DOES PICASSO CHOOSE TO REPRESENT HER? 10. KEEPING YOUR LAST CHOSEN ART WORK IN MIND MAKE YOUR WAY BACK DOWN TO THE BEGINNING OF THE EXHIBITION TO YOUR FIRST CHOSEN ART WORK. AS YOU ARE MAKING YOUR WAY DOWN PAY PARTICULAR ATTENTION TO THE EVOLUTION OF PICASSO’S WORK. WRITE A PARAGRAPH ABOUT HOW THE FIRST AND LAST WORK ARE SIMILAR OR DIFFERENT.
UNIT OVERVIEW
PAPER MOSAICS TASK THE LEARNING TASK HAS BEEN DESIGNED AS PART OF A SERIES OF PORTRAIT TASKS. THE PAPER MOSAICS ENCOURAGES STUDENTS TO THINK ABOUT SHADES AND COLOUR TO CREATE A THREE DIMENSIONAL FIGURE. THE TASK REMOVES THE PRESSURE TO CREATE A PERFECT REPLICA DUE THE CRUDENESS OF THE PAPER COMPOSITION.
IF POSSIBLE BRINGING IN A LIVE MODEL WOULD BE A GREAT EXPERIENCE FOR THE STUDENTS TO CREATE FROM REAL LIFE AS OPPOSED TO AN IMAGE.
STUDENTS WORK
LESSON PLANS
Lesson Plan – SFX College Subject: VCD 28/04/14 Year Level: 9 Period no. 2 @ 50min. Research Supervisor: Ms M Room: SCH3
Lesson Plan – SFX College Subject: VCD 28/04/14 Year Level: 9 Period no. 1 @ 50min. The Design Process Supervisor: Ms M Room: SCH3 Class Background
25 Students
Class Background
25 Students
Learning Objectives
Student will be introduced to the design brief. A slideshow will discuss the design process. The objectives for this lesson are for students to discuss and unpack the design brief.
Learning Objectives
Student will begin the design process with Research.
Learning Outcomes
Understanding the design brief and beginning to use correct design terminology.
Learning Outcomes
Understanding what design research is and produce 1 x A3 page of research with annotations.
Equipment and Resources
Powerpoint presentation, laptop, student handouts, visual diaries, pens.
Equipment and Resources
Powerpoint presentation, laptop, visual diaries and trolly.
Time/Duration
What will students do
Time/Duration
What I will do
What will students do
2min
Role
Stand quietly behind desks
2min
Class prayer
Stand quietly behind desks
5min
Write what, why and how on board.
Students to hand out visual diaries and handouts.
What: Research for design. Why: To work through the design process. How: Looking through magazines and the internet.
What I will do
Resources Needed
2min
Role
Stand quietly behind desks
5min
Write what, why and how on board.
Students to hand out visual diaries and handouts.
What: Introduction to new project. The design process. Why: To understand the design process and the assignment. How: Clear understanding of the process and terminology.
Resources Needed
10min
Read the design brief handouts with class. Ask questions.
Students will sit quietly and engage in discussion.
Handouts and whiteboard.
10min
Go through the research for design presentation.
Students will sit quietly and engage in discussion.
Laptop, presentation.
15min
Go through design process presentation.
Sit quietly.
Laptop, presentation.
33min
Walk around and assist students.
Work on their research.
Visual diaries, magazines and PD.
15min
Show students previous example.
Stand around table.
Folders.
3min
Pack up
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LESSON PLANS Lesson Plan – SFX College Subject: VCD 02/05/14 Year Level: 9 Period no. 3 @ 75min. Research Supervisor: Ms M Room: SCH3
Lesson Plan – SFX College Subject: VCD 08/05/14 Year Level: 9 Period no. 5 @ 75min. Research Supervisor: Ms M Room: SCH3
Class Background
25 Students
Class Background
25 Students
Learning Objectives
Student will continue the design process with Generation of ideas.
Learning Objectives
Student will continue the design process with Development of ideas.
Learning Outcomes
Understanding what generation of ideas is and produce 2 x A3 page with annotations.
Learning Outcomes
Understanding what development of ideas is and produce 2 x A3 page with annotations.
Equipment and Resources
Powerpoint presentation, laptop, visual diaries and trolly.
Equipment and Resources
Powerpoint presentation, laptop, visual diaries and trolly.
Time/Duration
What I will do
What will students do
Time/Duration
What I will do
What will students do
2min
Role
Stand quietly behind desks
2min
Role
Stand quietly behind desks
1min
Class prayer
Stand quietly behind desks
1min
Class prayer
Stand quietly behind desks
5min
Write what, why and how on board. Check that students have finished their research.
Students to hand out visual diaries and handouts.
What: Generation of ideas. Why: Develop our labels to produce a new design. How: Application of design elements and principals.
5min
Write what, why and how on board. Check that students have finished their research.
Students to hand out visual diaries and handouts.
10min
Go through the generation of ideas presentation.
Students will sit quietly and engage in discussion.
Laptop, presentation.
What: Development of ideas. Why: Develop our labels to produce a new design. How: Application of design elements and principals.
10min
Go through the generation of ideas presentation.
Students will sit quietly and engage in discussion.
Laptop, presentation.
50min
Walk around and assist students.
Work on their generation.
Visual diaries.
50min
Walk around and assist students.
Work on their development with different media.
Visual diaries, pens, paints, paper etc.
7min
Assign Homework
Pack up
7min
Assign Homework
Pack up
Resources Needed
1
Resources Needed
1
Lesson Plan – SFX College Subject: VCD 11/05/14 Year Level: 9 Period no. 1 @ 50min. Research Supervisor: Ms M Room: SCH3
Lesson Plan – SFX College Subject: VCD 14/05/14 Year Level: 9 Period no. 1 @ 50min. Research Supervisor: Ms M Room: SCH3
Class Background
25 Students
Learning Objectives
Student will continue the design process with Refinement of ideas. They will begin to learn Illustrator.
Learning Outcomes
Students will watch a Utube tutorial and explore using Illustrator.
Equipment and Resources
Utube link.
Time/Duration
What I will do
What will students do
2min
Role
Stand quietly behind desks
1min
Class prayer
Stand quietly behind desks
5min
Write what, why and how on board.
Students to turn illustrator on.
What: Illustrator basics. Why: Refine our labels to produce a new design. How: Application of Illustrator techniques.
40min
Watch the Utube link and experiment with basic tools.
Students will sit quietly and engage in discussion.
Computer.
2min
Pack up.
Pack up.
Resources Needed
Class Background
25 Students
Learning Objectives
Student will catch up on work that has not been completed.
Learning Outcomes
Students will complete all work with correct annotations.
Equipment and Resources
Visual diaries.
Time/Duration
What I will do
What will students do
2min
Role
Stand quietly behind desks
1min
Class prayer
Stand quietly behind desks
5min
Write what, why and how on board.
Students to turn illustrator on.
What: Design process. Why: To catch up on all unfinished work. How: Using the design elements and principals.
40min
Walk around and assist students.
Students will sit quietly and finish all work.
Visual folios and pencils etc.
2min
Pack up.
Pack up.
Feedback please:
Feedback please:
http://www.youtube.com/watch?v=EZTj5YQxGLc
Lesson was a good time to catch up as have been pushing them quite quickly.
Resources Needed
Stopping the link was helpful. Maybe should have had a handout to make work neater.
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CHRISTIAN EDUCATION
The unique purpose of Christian education is to invite young people to perceive the world through the perspective of God’s truth. Through Christian education the Bible becomes the lens in which student and teacher use, to view what they are learning. However, Christian education is not simply a way of understanding the world. It is a way of living. Christian education invites and motivates young people to live in the way Jesus asked us to. It offers Christian families the opportunity
to have their children educated from a Christ centred, Biblical perspective, which will prepare them to impact our community, nation and world for the Lord Jesus Christ. Christian education is not merely a compulsory religious education subject. It should be a holistic approach. It should be concerned with the development of the individual (academically, socially, spiritually, physically), the entirety of life and its activities (creating, working, playing, thinking) and
CHRISTIAN EDUCATION an integrated understanding of the world and its distinct aspects (aesthetic, mathematical, biological, historical). A biblical world view should resonate through every area of the student’s school life and help to guide all their important decisions, whether it is academic, athletic or artistic it should reflect God’s glory.
It is about building a deeper relationship with the students whereby, together as a community we are able educate the person as a whole. Christian schools have a God given authority entrusted through godly praying and parentpartners who join in unity to see God’s power and blessing released in their children’s lives. Only together are we able to educate a generation that represents God in Through Christian education a the marketplace, athletics, arts, partnership with teachers, parents academics and mindsets in a way and students is developed. It that shines for all to see. seeks to teach and nurture young people through pastoral care.
It is God’s desire to educate the whole person. He didn’t just create a body, or a mind, or a spirit, but a whole person. This whole person will have to stand accountable before God in the next life, function in this life as a Christian, and serve as a citizen of both this nation and a progressively globalizing world. This next generation of young people must be equipped to make moral choices in an increasingly unmoral world. A good Christcentred curriculum can cover many of these distinct points and equip young people in their future
careers in a manner that glorifies God. All education has the power to transform. The purpose of Christian education is to transform young people into His image and not that of this lost world.