DIGITAL TEACHING PORTFOLIO Raquel Hirsch
Overview Reflecting on my practice, I realise that my teaching philosophy has come from recognising and using students’ needs to make instructional choices and appropriate lesson planning. In this way, I ensure that my students grasp and internalise the enduring understandings and beliefs that underpin my teaching. These beliefs include preparing my students adequately for personal and professional success in a global, technology-centred world. Students learn essential skills in the Visual Arts and Design which enhance fine motor skills, critical thinking, higher order thinking, exploration skills, and assist in the formation of identity and understanding the true self, which is imperative in the Adolescent years. Students assume responsibility for their own academic growth and success in a supportive, and scaffolded environment 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, backgrounds, strengths, weaknesses, and interests. In a highly visual world, it is imperative that our future generation is able to realise and understand visual language.
Contents - Introduction/Overview - Statement of Teaching philosophy/Pedagogy -
Examples of Units of work; Textiles Visual Arts Interdisciplinary learning
- Student Resources - Student worksheets - Extension activities - Lesson Plans & Curriculum planning - Evidence of links to peer-reviewed research/pedagogical literature - References to individual school/ Departmental requirements throughout. - Opportunities for Teacher professional development/Reflection
What is unknown
What is known This is the comfortable zone I intend for my students to begin their learning in, moving towards the unknown through scaffolding & identification of strengths & weaknesses, via focused questions & positive interactions. Teacher’s are successful when they ‘know [their] students & how they learn,’ (AITSL 2010)
Zone of Proximal Development (Vygotsky 1962): Zone too difficult for a student to master the task on their own but can achieve success through guidance & encouragement from a teacher or competent peer.
Following the scaffolding process a student can begin to work independently, as the prior supports are unnecessary, much as a scaffold is removed from a building after construction is completed. The student should feel confident and capable.
It is my responsibility to ensure all students in my classroom have an opportunity to participate fully in learning activities and realise their full potential while embracing the difference of others (Marsh, 2008). By tapping into my students ‘virtual school bags’ (Thompson, 2002) I allow their backgrounds to contribute to their knowledge, skills and abilities in the classroom through the establishment of relationships to better find learners Zones of Proximal Development (Vygostky, 1962) in order to identify their learning strengths and weaknesses and to provide adequate scaffolding. Through establishing solid student-teacher relationships I am able to prepare learning activities that fully engage students in order to meet their individual learning goals and needs. To me, an outstanding teacher will never quite be satisfied with the way things are, they will be continually, reflectively evolving and searching for ways to improve. Ultimately, this is my philosophy, and this is the teacher that I strive to be.
Year 7 Fabrics: Pop Art inspired 3D fleece Letter from an advertising logo.The focus of this unit of work is Creating and making: ’Students generate and develop ideas that explore particular concepts, techniques and issues when making art works’.
Learning intentions Students will:
- Generate ideas and inspirations from online images through research on fabric artists.
- Explore stylised, abstracted and/or realistic imagery and forms to convey intended ideas, emotions or concepts.
- Understand the term Pop Art, typography, 3-dimensional object - Understand how different different fabrics, colours and stitches have an effect on the overall result of the 3D soft and tactile object
- Understand the importance of thinking through thought processes in sequence to understand how class discussions and so on relate to the production of their mini typography pillow
- Become familiar with the following artists: Warhol, as well as local and international craft makers through website and blogs such as etsy.com
- Discuss the effect of pop art on the viewer and its relevance in fabrics for their work and other fabric artists Selection & Sewing Tips for Fleece Fabric Background/Overview of Fleece One of the hottest items to hit the fashion scene in recent seasons has been fleece. What began as a trademarked fabric by Malden Mills in 1979, (Polar fleece), the word polar fleece has become a household term among sewers. In today’s world, polar fleece fabric is marketed under a number of different trade names including Polar fleece, Polartec®, Tundra FleeceJ, YukonJ ECO Fleece, and Arctic FleeceJ. Some of these fabrics are actually made all or in part from recycled plastic soda bottles. Regardless of their origins, fleece fabrics are characterised by a deep pile texture, made into a knit fabric structure. Polar fleece may be further defined and described as Aa type of high quality, double-sided, napped polyester fleece. Fabric Characteristics There are a number of fleece and fleece-like fabrics on the market. Since 1979, a great deal of research and development has taken place to provide a variety of fleece types and weights. All fleece fabrics have some common characteristics. However, various types may emphasise or focus on certain ones and introduce others.
Common properties: -provides warmth will being extremely lightweight - has breath ability, allowing body perspiration to escape (wick) to the outside to be evaporated -maintains insulative/warmth properties even when wet -completely washable -machine dryable on low heat; no ironing. Other qualities that are introduced in some brands include antimicrobial finish, nonpilling, fleece that is laminated with a waterproof and windproof breathable lining, thin and thick pile, and a wide variety of surface textures. Some companies actually feature a fashion-apparel fabric line as well as an outdoor-enthusiast line geared toward serious climate considerations. Fibre content is generally 100 percent polyester. However, it may contain other fibres such as Lycra7 spandex, rayon, cotton, or wool. There are three things to check in determining the quality of the fleece. Check the density of the fleece. Denser fleece indicates higher quality. Check the recovery of the fleece by stretching it and letting it relax. High quality fleece has quicker recovery. Check the durability of the fleece by rubbing it against itself in a circular motion. Pilling is when little balls of fibre form on the surface of the fabric caused by wear and surface contact or abrasion. Fabrics made of manufactured fibres such as polyester may appear to pill more than fabrics made from natural fibres such as wool. In reality, pilling is often the same. The pills on natural-fibre fabrics break off more easily than pills on manufacturedfibre fabrics. Some fleece pills more than others. Better-quality fleece is less likely to pill because they go through multiple shearing and velouring processes. Price can be an indicator of quality. Sewing Techniques 12 Tips for Sewing With Fleece Walk into just about any fabric store this time of year and you will see row upon row of fleece material in a wide array of solid colours and prints. If you have never sewn with fleece before, you are missing out on a lot of sewing fun! Sewing with fleece is surprisingly easy and quite enjoyable once you learn the proper techniques for working with this amazingly versatile fabric. Unlike fabrics such as silk or velvet, which have been around for literally centuries, fleece is a relative newcomer to the fabric scene. Debuting as Polar fleece in 1979, it is among one of the most popular fabrics for crafts, outerwear and general sewing. Fleece is a purely synthetic fabric made of 100% polyester fibres. Its huge popularity can be attributed to it affordability but also to is many appealing properties. Fleece is warm, soft to the touch and has great insulative properties. Add on top of that the fact that it is easy to care for. It can be machine washed and dried and is wrinkle resistant.
If you are thinking about jumping on the bandwagon, there are a few tips and tricks you should know before you begin sewing with fleece: 1. Use “with nap” yardage requirements. Fleece is a non-woven fabric which means it has no real grain, however, its surface has a brushed appearance that moves in one direction. As such, use the “with nap” yardage requirements and be sure to layout patterns in one direction. 2. Fleece has a right side and wrong side. When pulled gently along a cross-grain edge, fleece will curl towards the wrong side. 3. A chief benefit is its raw edges do not fray, therefore seam finishes are not really necessary. They become more a matter of appearance and preference than need. 4. Fleece fabric has a considerable amount of stretch especially along the crossgrain. That’s both good news and bad news for sewers. The good: easing in seams is a breeze. The bad: edges at the cross-grain (like necklines) are prone to stretching, so be sure to stay stitch. 5. Find ways to eliminate bulk. Fleece is bulky and therefore when sewing with it, finding ways to either reduce or eliminate bulk is paramount. One way is to use lining material to face collars or cuffs. 6. Fleece is hard on scissors and machine needles, so always use a new machine needle. Clean scissor blades of fibre buildup. 7. Use a good polyester thread and a slightly larger stitch length (3mm-5mm). Stitching with a straight stitch is fine for most seams, but a small zigzag stitch is recommended at points where the seam will endure more movement, like armholes. 8. Because of its bulk and stretchy nature, stitching seams can sometimes be a challenge. Working with fleece can be quite messy, so clean your area of the fibre particles after every project. 10. Best seam finishes include serged edges, which help to compact the fleece, thus reducing bulk. Overcast, pinking or zigzag stitched edges are also great options.
Miss H’s example of pop art letter production, images of stages involved:
Step 1: choose a logo, then crop the image on the computer. Either hand draw it, or print out the individual letter. It should be no longer than 10cm high.
Step 2: Place image face up and trace with a pen or textar on the inside of the fleece to create your pattern.
Step 3: Then do the same in reverse, flipping the letter over on the same side of fleece. Step 4: Carefully cut out the letters, like this :)
Step 5: Pin the edges of the letters together, on top of each other in preparation for hand stitching around the edges Step 6: Hand stitching with stitch of preference , leaving space for stuffing Step 7: place an appropriate amount of stuffing inside
Step 8: Finish the piece off with all the edges stitched up, and no stuffing should be showing burst-ing at the seams Step 9: String to be attached by students Step 10: students to combine letters in a creation of a large group project mobile to be hung in the school (possibly cafeteria area) If requested, at the end of term, letters can be detached from the mobile and returned to students to take home.
Year 7 Fabrics Must refer to the following stages in order to know what to do next. 10 Stages of progression goals for your production: 1. Sketches of chosen letters need to be refined in visual diaries. Needs
to be approved by Miss H before going ahead with cutting out patterns. 2. Students to cut out their finished letter on a piece of paper. 3. Need to place the paper pattern down on a piece of brightly coloured fleece fabric. 4. An outline is to be made with a pen or texta on the ‘wrong side’ of the fleece. 5. Then cut out fabric, need to cut out 2 pieces of the pattern, one letter to be traced in mirror image (refer to step 3 of Miss H’s photographed examples of production stages).
6. Students need to begin pinning their letters from inside out/begin sewing to around half way or slightly more. 7. Need to ‘bag out’ their letter once they have sewn half way or more. 8. Stuffing needs to be inserted and stitched up. 9. Time frames will vary from student to student. 10. Welcome to make more than one letter if time permits : )
Senior School: Worksheets, Exam Revision & Resources Year 11 Studio Arts Edvard Munch, The Scream, 1893, Oil, tempera, pastel and crayon on cardboard, 91 cm × 73.5 cm About The Scream Although this fact is often forgotten, Munch intended The Scream to be part of a series, known as the Frieze of Life. The series dealt with emotional life, presumably applicable to all modern humans though, in reality, it was applicable to Munch's favourite subject (Edvard Munch). Frieze... explored three different themes -- Love, Anxiety and Death -through sub-themes in each. The Scream was the the final work of the Love theme, and signified despair. The Main Figure Such an unappealing creature! Androgynous, bald, pasty, mouth open in a rictus of pain -and those hands are obviously not dimming the "scream," which may be internal or external. And if it is the latter, clearly only the figure hears it or the man leaning on the railing in the background would surely have tumbled over it out of fright. This figure could be no one or anyone; it may be Modern Man, it could be one of Munch's deceased parents, or it might be his mentally ill sister. Most likely it represents Munch himself or, rather, what was going on in his head. To be fair, he had a family history of poor physical and mental health, and thought about these specters of doom with unwise frequency. He had father and mother "issues," and he also had an acquired history of alcohol abuse. Combine the histories, and his psyche was very often a mess. The Setting We do know that this scene had a real location, an overlook along a road traversing the Ekeberg hill, southeast of Oslo, Norway. From this vantage point one can see Oslo, the Oslo Fjord, and the island of Hovedøya. Munch would have been familiar with the neighborhood because his younger sister, Laura, had been committed to an insane asylum there on February 29, 1892. How Many Versions of The Scream Exist? There are four coloured versions, as well as a black and white lithographic stone Munch created in 1895. 1893: Munch created two Screams this year. One, arguably the most well-known version, was done in tempera on cardboard. It was stolen on February 12, 1994, from the collection of the The National Museum of Art, Architecture and Design, Oslo. This Scream was recovered three months later during an undercover sting operation, and returned to the museum. Because the thieves cut the
wires affixing the painting to the Museum's wall (rather than manhandling the painting itself), it was unharmed. The other 1893 version was done in crayon on cardboard -- and to be honest, no one is positive which version Munch did first. We do know that this drawing's colors aren't vibrant and it looks less finished than the others. Perhaps this lack of pizazz explains why it has never been stolen from the Munch-Museet (Munch Museum), Oslo. 1895: The version we are looking at here, and easily the most colorful one. It is in its original frame, on which Munch inscribed the following: I was walking along the road with two friends. The Sun was setting – The Sky turned a bloody red And I felt a whiff of Melancholy – I stood Still, deathly tired – over the blue-black Fjord and City hung Blood and Tongues of Fire My Friends walked on – I remained behind – shivering with Anxiety – I felt the great Scream in Nature E.M. Never stolen or mishandled, this Scream was in a private collection from 1937 until it sold at auction on May 2, 2012, during the Impressionist & Modern Art Evening Sale at Sotheby's, New York. The hammer price with buyer's premium was a jaw-dropping 119,922,500 (USD). Circa 1910: Probably painted in response to the popularity of earlier versions, this Scream was done in tempera, oil, and crayon on cardboard. It became headline news on August 22, 2004, when armed robbers stole both it and Munch's Madonna from the Munch-Museet, Oslo. Both pieces were recovered in 2006, but sustained damage from the thieves during the theft and while in poor storage conditions prior to their recovery. Did you notice that all of the versions were done on cardboard? There was a reason for this. Munch used cardboard out of necessity at the beginning of his career; it was much less expensive than canvas. Later, when he could easily afford canvas, he often used cardboard instead just because he liked -- and had grown accustomed to -- its texture. Technique This version of The Scream was done in pastels on cardboard. Style Munch is nearly always classified as a Symbolist, but make no mistake about The Scream: this is Expressionism in one of its most shining hours. (True, there was no Expressionism the Movement in the 1890s. Bear with me a minute, please.) Why? Munch didn't lay down a faithful reproduction of the landscape surrounding the Oslo Fjord. The background figures are unidentifiable, and the central figure barely looks human. The turbulent, vivid sky may -- but probably doesn't -- represent Munch's memories of phenomenal sunsets a decade earlier, when ash from the 1883 eruption of Krakatoa circumnavigated the globe in the upper atmosphere. None of this is relevant.
What registers is a jarring combination of colours and mood. It makes us uncomfortable, just as the artist intended. The Scream shows us how Munch felt when he created it, and that is Expressionism in a nutshell.
Year 11, Unit 1 Studio Arts Written Examination Revision, 2015 Artwork inserts
Elizabeth Gower, 150 Rotations, 2013, paper labels and packaging, sizes variable.
2.
Edvard Munch, the Scream, 1893, Oil, Tempera, pastel and crayon on cardboard. 91cmx73.5cm
3.
Frida Kahlo, Arbol de la Esperanza (Tree of Hope), 1946.
4.
Self Portrait Along the Boarder Line Between Mexico and the United States, 1932
Please explain the definitions of the following terms. Use a dictionary (online version is fine).
Aesthetics
Composition
Metaphor
Expressionism
Symbolism
The Formal Framework This is used to analyse how an artwork’s formal elements contribute to its meanings and messages. The Formal Framework consists of 4 main components. It is important to consider all aspect when interpre=ng an artwork. Consider the following ques=ons when using the Formal framework to analyse a work of art: • 1: Visual Analysis: How have the elements and principles of art been applied by the ar=st? What effect has this created? How do these quali=es contribute to the meanings and messages of the artwork? (PTO for a list of the Elements and Principles)
• 2: Technique: What materials and techniques have been used? How do the materials used or the technical skills shape or affect our interpreta=on? Is this due to inherent quali=es of the materials or to their applica=on by the ar=st? Are the materials significant to the meaning of the work? How and why? Does this ar=st always use this technique, why or why not? Is this significant to the meaning of the work?
• 3: Style: Does the ar=st work in a dis=nc=ve style? How do the stylis=c quali=es of the artwork contribute to the meaning of the artwork? How does the work relate to other works in a similar style or form the same historical period or cultural background? What style is the art work? Why? What is this style known for? What is significant to this style, and why is it significant? Does this contribute to the boarder meaning of the work? How does the style of work represent the period of =me in which the ar=st was living (historical and cultural context?).
• 4: Symbols and metaphors: What physical aspects or presenta=on of the artwork contain symbolic meaning or metaphor? This may include the use
of formal art elements, the composi=onal arrangement of figures or objects, the medium or the technique used by the ar=st, the style in which it is created. What symbols are included in the work? How are the symbols created, and what do you think they mean? Why has the ar=st put them there? Does the symbol refer to an idea from a specific =me period or culture?
The Elements of art and design. (The ingredients) • Line: What kind of lines are in the work, and what are they doing for the work? • Tone: How is tone used in the artwork, and to what effect? What mood is it crea=ng? • Shape: How is shape used in the art work? What effect does this have? • Colour : What kinds of colours are used in the work? warm, cool, complementary, analogous, harmonious… • Texture: What kinds of textures are in the work? Are they actual, or implied? What effect are they crea=ng? • Form: How has the ar=st created form? What kinds of forms contribute to the work? • All Elements -‐COMPOSITION! : How are the elements working together to create the composi=on? Does the composi=on create a mood or message? The Principles of art and design. (The recipe) • Composi=on: Is the overall arrangement or combina=on of the design elements. • Balance: Affects the composi=on of an artwork and the combina=ons of the different elements in the artwork. It can be symmetrical or asymmetrical; shapes can appear to be heavy or light. • Focal Point: Is the main area of interest in an artwork. The ar=st will arrange the elements to draw aZen=on to this area; by using contrast, placement, size, lines and rhythm to draw our aZen=on. • Unity: Unity is achieved in an artwork when all of the elements work together to create a strong sense of connec=on in the artwork. The elements may all be used in a
similar way to create unity, or the element may be repeated. When elements are repeated, there is o]en an element that is different to create variety. • Contrast: Contrast refers to the use of opposing elements to create interest. This can be in colour, line, tone or any other element. Contrast is used o]en in conjunc=on with other principles. Contrast can create a focal point in an artwork, and also variety. • Rhythm: The repe==on of elements in an artwork creates a sense of rhythm, The repe==on of an element creates a paZern which encourages the viewers eye to move around the artwork. Rhythm is generally created by the ordered paZern of shapes, space and colour in the work. • Space: When an ar=st arranges the art elements in an artwork, they create the artwork in a space. In 2 dimensional artworks 3 dimensional space is given an illusion or is created. In 3 dimensional artworks the ar=st is working with the actual space.
The Personal Framework The ArGst • The Personal framework is used to interpret how an ar=st’s personal experiences, feelings, thinking and/or personal philosophy can be reflected in an artwork. • When using this framework you are looking at the personal ideas that the ar=st is exhibi=ng in the work. • What rela=onship does the artwork have to the ar=st’s life and experiences? Are there personal objects or is it scene that relates to the ar=sts personality? Are their symbols that relate to the ar=sts personality? • Has the ar=st used a specific process or prac=ce in crea=ng the artwork that may reflect their personal philosophy and ideas? • How is the artwork liked to people, places or experiences of personal significance to the ar=st such as the ar=st’s personal feelings, thinking, aspira=ons, beliefs, desires (conscious or subconscious) or preoccupa=ons, or to memories, dreams or personal world of fantasy?
The Viewer (YOU) • How does the experience and background of the viewer (YOU) affect the interpreta=on of the artwork? The Personal Framework can be used to interpret the effect of the cultural background, personal experiences and viewpoint of the viewer in rela=on to the work. We all bring different backgrounds and experiences to the viewing of artworks and this is o]en reflected in our interpreta=on. • What can we see in the work that reflects our personal experiences? How do we relate to the work? The Cultural Framework The ArGst & Work Then • The cultural framework is used to interpret the influences of the =me and place in which an artwork has been produced. The viewer can interpret the purpose of the work and the cultural, historical, poli=cal, religious and social sedng in which it was made. This is o]en referred to as the ‘Context’ of the artwork. Most artworks are born out of feelings the ar=st has for the =me in which the work was produced or the purpose behind it. • Why did the ar=st produce this artwork? Was it for a fes=val or event, to make a poli=cal statement, to express an idea about their culture or to record a par=cular event? • What aspects of the artwork reflect the culture in which it was made? This might be the subject maZer of the work, the use of techniques or the ideas that the ar=st is expressing. • How does social, poli=cal or religious context in which the artwork was made contribute to its meaning? Inves=gate the background of history or culture in which the artwork was made to see if you can gain evidence about the work. • Is there evidence of cultural symbolism in the work? How does this reflect the ideas behind the work? • Do materials techniques and processes selected and used by the ar=st reflect anything about the values of the culture in which the artwork was produced? • Does the work reflect the gender values of the social context in which it was produced? If the work is a historical example, how does this compare with the gender values of
today? Are the ideas of the artwork a reflec=on of the gender of the ar=st? How do male and female ar=sts explore different ideas in their work? The ArGst and Work Now • If the work is now in a different context and loca=on to when it was produced, such as a gallery or museum, how does this loca=on affect the different interpreta=on of the work? You • As a viewer you will bring your own interpreta=on to the work, par=cularly if you are inves=ga=ng a work that is from a different =me period or culture. • How does the inten=on of the ar=st differ from your view? What meaning did the ar=st give the work? Are you interpre=ng it in the way that was intended? This applies par=cularly to works that may have been produced from another period of =me. Do you gain a different interpreta=on to that of the ar=st because of cultural, social, poli=cal, historical and gender differences in ideas? • Do you think the work loses the original inten=on of the ar=st because of where it is located? What is it that makes the work different?
The Contemporary Framework •
This is used to interpret an artwork by applying contemporary ideas and issues. This framework is mainly applied to contemporary works produced a]er 1970. Many contemporary artworks take non-‐tradi=onal arjorms and include installa=ons, performance works, video, photography, interac=ve art, Street Art, sound installa=ons and digital projec=ons.
Now •
Contemporary artworks can o]en be conceptual in nature, meaning that there is an emphasis on the ideas of the ar=st rather than the subject maZer of the work. Ar=sts who create contemporary artworks are o]en aZemp=ng to experiment with new media and technologies. Many contemporary works are also based on postmodernist ideas.
•
Ar=sts o]en take ideas from society and make fun of them in their artworks. How are the postmodern ideas of parody, irony and sa=re used to ques=on and challenge tradi=onal understandings of art? In this way, the ar=st may have used the subject maZer to highlight an idea or issue.
•
Does the way in which the ar=st presents their subject maZer and uses materials and techniques reflect or challenge ar=s=c or social tradi=ons?
•
Has the ar=st used non-‐tradi=onal art prac=ce or art forms to challenge tradi=onal no=ons of art?
•
How does media and other emerging art forms (such as videoart, ins=lla=on art, digital projec=on, performance art and Street Art) challenge the importance of artworks based in a museum or gallery?
•
How can the concepts or presenta=on of ideas and issues relate to broader issues for the ar=st and society? Think about how the artwork may provoke other ideas about the issue or reflect an issue.
•
How do symbols and concepts in a contemporary artwork reflect contemporary contexts and ideas?
•
How does the presenta=on of contemporary artworks such as video installa=ons, digital projec=ons and performance art in museums and galleries impact on your understanding of the artwork?
Then •
When you use the Contemporary Framework, you can apply it not only to Contemporary works but also to works from different =mes and cultures to view those using contemporary ideas and values. You also have to inves=gate how you, as an individual living in contemporary society and culture, can interpret and gain an understanding of an artwork.
•
How can artworks of the past be interpreted in the light of contemporary ideas and issues? You must look at these works and see how the ar=sts’ presenta=on of subject maZer, use of techniques, style of the artwork and the ideas are interpreted from a contemporary point of view.
The Formal Framework and Contemporary Artworks (A special point) • Analysing contemporary artworks using the Formal Framework can be challenging, as o]en the works are non-‐tradi=onal arjorms and the ar=st has used new technologies and mediums. In addi=on to the design elements of line, tone, shape, colour, texture and form, there are some other elements that are relevant to contemporary artworks. • Sound, space, light, and =me: these elements are considered in rela=on to contemporary artworks par=cularly installa=on or video work. Using adjec=ves to describe these elements will help you analyse the ar=sts that use them to express ideas.
• Describe the sound used with the work. Does it have an impact on the atmosphere of the loca=on where the artwork is presented? How does the sound work with the visual quali=es, if any, of the work? (Note that some artworks are only sound based) • How is light used in the installa=on or video work? What impact does it have on the subject of the work? What impact does it have on the messages the ar=sts is trying to convey? • Describe the space in which the work is located. How does this impact upon the work itself? Does it contribute to the work and its aesthe=c quali=es? Does it contribute to the meaning of the work? • How long does the performance or video last? This will also have an impact on its meaning. The Cultural Framework in a Brainstorm:
ArGst Research QuesGons Research and answer the following ques=ons about each of your chosen ar=sts: (You will answer these ques=ons twice) 1. Full name of your ar=st 2. Date and place of birth and death 3. Country of origin, where did they grow up? 4. What kind of early educa=on did they have? What kind of early art training did they receive? 5. What were their early artworks like? 6. What were their career highlights? 7. What was their later artwork like? How was it different to their early works? Why was it different/ same? 8. What were their major ar=s=c influences? Are these influences no=ceable in their artworks? How? 9. Did they mainly work with one material or technique or more? What various materials/ techniques did they explore mainly? 10. Did they contribute to an art movement? Which one(s)? 11. Which style did they work in? Did they work in more than one? 12. Are there reoccurring symbols in their body of work? If so what are they and why are they significant? 13. Were there any significant personal events that influenced their works? 14. Were there any significant cultural events that influenced their work? 15. What major world events happened in their life=me? Was their artwork influenced by this at all? If so how? 16. How did their contemporary society perceive their work at the =me?
Lyndhurst Secondary College YEAR 10 Art SEMESTER 1 Exam NAME________________________ DATE_____________ # Correct _________ Please answer T (True)/F (False) to the following statements. _____ The aesthetic center of interest is located directly in the middle of the format. _____ A contour line is a single line that describes the outside edge of the object. _____ A shape is flat and 2-dimensional. _____ Negative space is the area you would call the background. _____Texture is an element of design. _____ There are 10 principles of good design. _____ Rhythm between shapes or objects helps create directional movement. _____ The focal point, or an area of emphasis are two very dierent things in design. _____ Value refers to dark and light. _____ Asymmetrical balance is also called informal balance. _____ Colour is not an element of design. ______ Line can show direction. ______ Size and Proportion mean the same thing. ______ Rhythm can show directional movement. ______The Elements of design combine to produce the principles of design. ______ Complementary pairs are located directly across from each other on the colour wheel. ______ Intensity refers to brightness and dullness in colours. ______ A Cube is a basic form
______ Back-shading is the negative space around forms. ______ Reflected Light is always as light as the highlight. ______ Contour drawing is one continual line that describes the outside edge of an object. ______ A line can be made thick and thin to create interest. ______ A gradation with pencil should show all the values of gray from black to white. ______ Back shading can show the edge of a form on the highlighted side. ______ A shadow can’t show where the light is coming from. ______Highlights show where the light hits an object directly.
Please fill in the blank spaces with a word that makes the sentence true.
When making a gradation with pencil you should use a ______________motion with your pencil. The _____________eraser is used to lighten graphite creating the soft gray areas on a drawing. The lines of a contour drawing can be drawn __________ and ___________. The element of _________refers to 3-dimensional objects. When there is an area in a composition that is special or dominant, it is called the area of _____________. A gradation from one colour to another colour when using coloured pencils can be achieved by _______________ one colour lightly over and into the other. When you add black and white to one colour, it is called a ______________scale. When you are stylising an object you should ____________ it to the most basic shapes to be recognised. _______________ movement leads your eye through the format into the area of emphasis.
Value is the amount of _______and ________ in a composition. The Element of _______________refers to surface quality rough or smooth. If there are too many dark areas on just one side of the composition it is said to be out of _________________. When shapes, lines, values, lead the eye through the format it is called _______________ movement. The outside dimension of the paper or board of a work of art is called the _________. The closer lines are to each other, the __________they will appear. A shape is ________ and a form is ___- dimensional. Name three basic forms; ___________, _______________, ______________. In pen and ink we learned Cross- ___________ style of drawing. When you simplify objects down to their most basic shapes it is called a ___________
Here is a list of topics that will be on the test. Study them!
Elements of Design: Line, Shape, Form, Colour, Texture, Value, Proportion. LINE - creates a shape, can be thick or thin, creates texture SHAPE - is flat, 2-D, is an enclosed line, can be organic or geometric. FORM - has depth, 3-D, forms are solid objects. TEXTURE - rough or smooth, implied or real VALUE - Dark and Light, in colour, in drawing and in design. PROPORTION - size differences
The elements combine to form the PRINCIPLES OF DESIGN AREA OF EMPHASIS - a special section or place in the format, The aesthetic center of interest is not in the middle but uses the division of thirds. Also called the center of interest, focal point. DIRECTIONAL MOVEMENT - Leads your eye through the format and to the area of emphasis by using a rhythmic overlay of shapes, colour or values. RHYTHM - the position of shapes, colours and values that work well with each other and help to produce directional movement. BALANCE - the use of common elements throughout the format so that one area is not left without some of these elements. Colour, values, textures, objects can be balanced. There is Asymmetrical / informal balance, and Symmetrical/ formal balance. VARIETY OF SIZE - The variation of elements so as not to cause monotony THE BASIC FORMS - Cube, Sphere, Cone, Cylinder, Pyramid and Prism. All of the objects and things in the world can be simplified to these forms. This is how you can draw more complicated forms by looking at the basic forms with in the objects and how they are constructed. CONTOUR DRAWING - The one continual line that describes the outside edge of an object. Thick and thin line produce variety. GRADATIONS - a gradual change between dark and light in drawing and painting. This can be created with a pencil by changing the pressure on the paper and by using small circular movements. A KNEADED eraser can soften the edge of a gradation by lifting graphite from the paper. COLOUR-PENCIL - The coloured pencil can be blended with soft layers to produce new colours. A gradation can be made by overlapping soft layers of two colours.
Paint Brush Maintenance: Be gentle with them! Rub them between your fingers or on the palm of your hand Rinse them until the water runs clear. This is the correct way to place a brush in a water pot. When brushes are clean and dry please place them upright like this
Example of lesson plan – Carrum Downs Secondary College • Subject: Art • Year 7, Period 3, 12:05-1:15 • Week 3/6, lesson no. 5/12 • Lesson title: Exploration of Water colours/Application.
Learning intentions:
• To understand the mixtures of colours on the colour wheel • using water colours properly as an art medium • Applying water colours effectively to an artwork
Success criteria:
• To have finished the colour wheel • To complete a final sketch on the book pages and trace it with fine liner
Key Terminology/Vocabulary:
medium, illustration, tones/shades, contrast
Overall Equipment & Resources:
Water colour paints, colour wheels, book pages, fine liners, graphite pencils, student folios from store room.
Times/Duration:
What will students do:
• • • •
12:05-12:10 12:10-12:20 12:20-1:07 1:07-1:15
What the teacher should do:
• Sit down at tables • Line up students quietly for the role • Explain Learning intentions • Watch and listen attentively to water • Te a c h e r s c a f f o l d s students colour demonstration Inform students to on book page • pack up- particular • Students to create students delegated to their artwork collect materials and return to front: • 1. folios • 2. water colour paints • 3. fine liners+ graphite pencils • 4. Student folios with work inside
Specific Resources Needed: • Laptop for the role • Students to collect folios/ materials required for their stage of work
Critique/Reflection: Some students were very restless/rowdy. Particularly the 3 boys who need to be reminded before entering the room/beginning next lesson. Strictly implement the 4 R’s- have purple slips visible.
STUDENT WORK - A wide variety of mediums
Combining Printmaking and Textiles>
Inquiry based collage task & textiles unit of work: Links to the broader curriculum and life skills/knowledge: At Levels 7 and 8, links between The Arts – Art and domains in the Physical, Personal and Social Learning strand that can be used to enhance student learning.