Thursday, January 26, 2012

Creative and Practical Arts

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Creative and Practical Arts

Faculty of Education

Assignment 1

Unit of work and five lesson plans

Unit Name A picture a thousand words.

Rationale/Unit Description

The unit A picture a thousand words will explore pictures that tell a story. Each lesson will start with the introduction of stimuli. Then the students and teacher will examine these stimuli. The class will then engage in making their own art in the light of what they have seen, heard and discovered out of themselves. Finally the class will review their progress with the current task and assess if there is anything they need to finish for homework.

Stimuli will be either visual, verbal, or visual/verbal (explored below). The stimuli will stress the link between pictures and words. The verbal element will basically consist of descriptive language some from their own conversations or wider experience, some from the teacher and some read to or by them from fiction books, non-fiction books and other print media. The visual element will be made up of plates from art books, illustrations, cartoons, design drawings such as house-plans, photographs, sculpture and stills from films, and TV. Visual/verbal stimuli will come from plays, opera, television or movies shown in class or ones they have already seen.

The students and teacher will examine these stimuli in relation to the speaking quality of the visual and the pictorial quality of the verbal. There is an important relationship here in art that strives for realistic representation. This link is even stronger in design drawings, plans, cartoons, the art of social comment and, of course, visual/verbal art-forms that often desert realism in favour of more concise or eloquent visual expression.

Having examined the stimuli for the day, students will attempt making their own representations of some of the concepts covered, focusing on the speaking qualities of their own representations. These shall form a book or folder of illustrations, cartoons, sketches, paintings and drawings in various media, interspersed with notes, writing and captions based on the examination stage and relevant to the specific picture the child has done. Three dimensional works will also be attempted under the same guiding principals.


The review of own and peers work will focus on the relative difficulty of the task being attempted. Children who are ‘not good at drawing’ are often disappointed with the results of their work because they have attempted too much. A more successful student may simply have exaggerated the important points while the ‘failure’ has been an attempt at greater realism, and simply needs more time and patience, or, possibly, more familiarity with the medium.

Aims

This unit aims to awake a concept of spatial awareness and, out of that, an understanding of the speaking quality, particularly of representational, but also of non-representational art. To awake an appreciation of the innate value of all human beings, regardless of race, religion, age, sexuality or disability through a gentle treatment of each child’s contribution to the class. Demonstrating the value of focus, the joy of hard work that has some meaning to one and how it helps one to realise one’s potential.


OUTCOMES INDICATORS

MAKING

VAS.1 Investigates subject matter in an attempt to represent likenesses of things in the world.

VAS.1 Makes artworks for different audiences, assembling materials in a variety of ways.


APPRECIATING

VAS. Acknowledges that audiences respond in different ways to artworks and that there are different opinions about the value of artworks.

VAS.4 Communicates about the ways in which subject matter is represented in artworks.

• Closely observes people, animals and other objects in the world and captures the story (eg character, mood, movement) behind the actual spectacle using various techniques (such as proportion, perspective, composition, foreshortening, contrast, colour, contour, plane).

• Uses the exaggeration of caricature, cartoon, surreal and abstract art forms as well as more realistic depiction to make their art speak.

• Explores the stories as they and others perceive them behind real situations and their own and others’ art in the areas of the community, the global environment, places and spaces, peoples, objects and fantasies.

• Explores and becomes familiar with many forms (media) wet on wet watercolour, wax crayon, pastel, pencil (colour and graphite), charcoal and combinations of the above; clay, plaster, wire, wire mesh, and modelling wax. Notes how some media might realise in art certain concepts more effectively than other media. Looks an the role of colour, line, shading, contrast, brightness, texture, shape; and style (i.e. realism, cartoon, caricature, abstract art) in making speaking pictures and sculpture.

• Talks about the story in their works. Eg. Is it ok if the audience gets a different story?

• Explores ways they might get a particular message across to their audience.

• Talks and writes about the artworks/reproductions they have seen. Discusses the way they understand them and the different ways they might be interpreted by others.

• Recognises the different motivating forces behind artworks eg self-expression, fascination with media, beliefs, beauty, decoration, social-critique.

• Explore the concept that artists may have different intentions in their art-making than is later perceived by audiences through mystery artworks inventing stories for unfamiliar artworks and later hearing about their making and what place or story lies behind them.

• Identifies and describes the properties of different forms, materials and techniques in artworks and comments on how these are employed in the representation of subject matter.

• Discusses the artist’s intention and/or the use of styles and techniques in selected works and considers the possible meanings of these works.

• Discuss how subject matter can sometimes become a theme that (throughout a given culture) is symbolic of something else; but that, at other times, a subject can mean different things in different works.

• Looks at works in a wide range of media from oil on canvass to chalk on pavement, from clay to concrete, from fresco to fibreglass.


Overview of Subject Matter

Stimuli Looking at examples and reproductions of art, depiction, visual data communication and listening to descriptive language drawn from Drama, Music, Art Theory, English, HSIE, PD/H/PE, Mathematics and Science & Technology lessons (and other relevant sources).

Examining Discussing and writing about their impressions of these stimuli, the techniques used to convey meaning, and how the vividness of their impressions relates to how effectively the artwork speaks to them.

Making Creating artworks in the light of the discussions, and with the examples of the various stimuli to aid their art making.

Review Looking over, discussing and writing about what they and the class have accomplished and comparing the works (I believe children of this age can manage this so long it is a comparison of qualities rather than a judgement on the value or execution of the works).


Links with other KLAs

Creative and Practical Arts. This visual art unit has links to the performing arts through the importance placed on the linking of visual and verbal. Links with music are less important, though a link could be forged the emotional quality of music can be wrestled into words, painted (Kandinsky) or vice versa (eg all song writing and Mussorgsky, Pictures at an Exhibition). The three elements can even be brought together. This is opera visual aesthetics twinned with verbal artistry (the dramatic arts) and music rolled into one!

Music can be linked effectively with this unit, but it is a side issue to the central push of the unit.

PD/H/PE. The body as a means of expression is of fundamental importance both to dance and the depiction of the figure in art. The body can be depicted in the act of performing any of the activities relevant to PD/H/PE. Books on personal development, health and physical education often contain illustrations that portray things or clarify concepts that language can not convey (eg the face of a famous sportsman in competition, an artist’s portrayal of a dissected body, an illustration of a bully and a victim).

Participation in art promotes growth in personal development, health and physical education. It provides a unique arena for self-expression and the release of pent-up emotions while helping to build the children’s confidence and self-concept. It hones fine motor-skills, requiring at times quite strenuous effort, and sharpens the children’s experience through all the senses (Module 1, p. ). In these ways mental and physical health are bolstered by this unit, yet health issues, such as the toxicity of art materials and other hazards of the vocation will also be discussed.

English. Many different text types will be used as stimuli. The differences will be explored through looking at how a picture book will be illustrated in a different way to a science journal or a BMX magazine. Texts, oral skills for recounting impressions, script used in bookwork and listening skills are all integral to the unit. Text is used to conjure up images, images to illicit a response in words, yet neither is able to replace the other or render the other redundant.

Mathematics. This KLA is less central to the theme. Design drawing, however does have a strong link with mathematics as it often shows measurements to aid the building of a house or the manufacture of an engine. Realism in art will be a focus, however. This form of art approaches the accuracy of design so that mathematical concepts (such as perspective and the proportional reduction in size of more distant objects) become important. Artists such as M. C. Escher have blurred the line between design and art.

HSIE. Cultural and geographical information is always imbedded in art. The artist’s ethnicity, culture, life-history, mood at the time the work was made, world events all influence, to a greater or lesser extent, his/her artwork and help to make up the ‘thousand words’. A completely blank canvas may seem easy to describe. For such a canvas to be considered art requires a lengthy explanation; one that covers the whole history of art, and deals with the difficult concepts of originality and the influence of current art practice.

Science and Technology. Technical drawings will be used in the stimuli for this unit, as will anatomical, wild-life and plant illustration, as examples of realism in art. The children will also produce work that falls loosely into these categories.


Teaching Strategies

This unit employs integrated teaching strategies, whilst taking care not to swamp the art/craft/design element of the lesson with the content from other KLAs. Each lesson is based loosely on a theme, as is the unit on a broader one. The elements approach will have some bearing on the lessons, but the technical use of the elements of art (eg line, shading) will only be mentioned in passing an aid to those ready for them, but no mandatory encumbrances to those who are not or are pursuing other goals. Students who seem to need an extra challenge, but are not responding to the general suggestions should be individually directed and encouraged. (Richardson, D. 1).

Command Style to begin the lessons where class practice is set, then the Limitation Method, where the students find their own approaches to impulse and response, evolving through guided Discovery, Progressive Problem Solving to Specific Skill Instruction, though already ‘limited’ to a specific game or exercise. This pattern will be followed for all the activities first setting the framework, then progressively narrowing exploration to hone in on an accurate impulse from and response to anger, gentleness, or whatever the student has selected to experiment with. Reciprocal style will be added to this framework in the group exercises.


Assumed Knowledge

This unit assumes that the students have satisfied the requirements of stage learners in the visual arts. It also assumes literacy to stage , numeracy to stage at least (though only a small amount of work will require this capacity) and knowledge and understanding of the following subject matter in the following fields, which will be used as stimuli for this unit. A level of familiarity with the visual arts (and subjects in general) is expected, but this unit caters for a broad range of students to participate at their own level, whilst pushing the boundaries of what they can do.


Student Assessment

• Samples of bookwork, i.e. painting, drawing and writing enclosed in a portfolio.

• Samples of D work.

• Appropriate attitude to art making as demonstration of what they have been learning through sharing the experience of the speaking quality of artworks with their classmates.

• Positive social interaction.

• Helpful oral contributions, evident of understanding of core unit concepts.

• Eagerness to engage in and appreciate art as an important mode of communication.

• Eagerness to engage in the unit as an important opportunity for many kinds of growth.


Stimuli from an integrated curriculum links with other KLAs. This unit has been drawn up with parallel lessons in mind. Much of the text, images, dialogue and activities that are used for stimuli, have been or are being covered in other lessons. Here are the links with the current lessons for class 6.

This unit must be altered in years when this material is not being covered.

Lesson/KLA Text (Excerpts from) Images Dialogue Activities

Art Theory
(previous)
(this lesson) The life/poetry of Michelangelo.

Text about particular artworks/artists previously covered. The artworks to which these texts relate and illustrations from the biography and other texts. Dialogue/ conjecture about these experiences. To illustrate and/or write about the positions of body used in the activities of creating and studying visual art, and scenes of the story both in the illustrations and the child’s imagination.


Text about works not covered previously

Drama. The fairytale 'The Fisherman and his Wife' by the brothers Grimm. Illustrations from the text. Class discussion about these and other experiences of drama. To illustrate and/or write about gestures used in the activities of rehearsal and performance, and the scene of the story in both the illustrations and the child’s imagination.

Music. The story of the life of Beethoven. Illustrations and photographs from the text. Class discussion about these experiences and the experience of music itself. To illustrate and/or write about the positions of body used in the activities of rehearsal and performance, and scenes of the story both in the illustrations and the child’s imagination.

English Stories. The Call of the Wild and White Fang by Jack London.

Books on dogs and the wilds of Canada. Illustrations and photographs from these books. Class discussion about these experiences. To illustrate and/or write about scenes of the story both in the illustrations and the child’s imagination.

HSIE. The Aeneid by Virgil. Texts on different lands, cultures, animals and natural phenomena. Illustrations from the texts. Class discussion about these experiences. To illustrate and/or write about scenes of the story both in the illustrations and the child’s imagination.

PD/H/PE PD/H/PE texts. Illustrations from these books. Class discussion about these experiences. To illustrate and/or write about scenes of the texts both in the illustrations and the child’s imagination.


Mathematics. Problems describing geometric figures. Illustrations from the resource text. Class discussion about these experiences. Depicting figures from their descriptions, including information (eg side lengths).


Describing shapes in words.

Science and Technology. Descriptions of objects for study or construction as seen in their S&T lessons. Technical drawings/ construction plans. Class discussion about these experiences. Creating construction plans from the objects’ descriptions, including information (eg side lengths).


Giving written descriptions of a given technical drawing.

Teacher Resources

• One teacher

• Helpers (optional)

• In-door and out-door areas


Resource Books/CDs/Videos/DVDs/Websites


Art Theory (this lesson and previous)

• Boardman, J., Greek Art. Thames and Hudson, London.

• Buonorroti, M. (Ryan, C. Tr.), Michelangelo, The Poems. Butler and Tanner Ltd., Frome.

• Dupain, M., Max Dupain’s Australia. Viking, Ringwood, Victoria.

• Escher, M. C. http//www.mcescher.com/

• Goldscheider, L., Michelangelo Paintings, sculpture, architecture. (6th edn.) Phaidon, London.

• Harden, M. Kandinsky Compositions. In Glyphus. http//www.glyphus.com/art/kandinsky/


Music

• Scott, M. M. Beethoven. Dent, London.

• Mussorgsky. Pictures at an exhibition. (Audio).


Drama

• Brothers Grimm The Fisherman and his Wife. In, Owens, L. Ed. (181), The complete Brothers Grimm fairy tales. Gramercy Books, NY.


English

• Burnett, F. H. (Howell, T. Illustrator), The secret garden. dilithium Press Ltd., New Jersey.

• Carroll, L. (Peake, M. Illustrator)., Alices adventures in Wonderland and Through the looking glass. Redwood Burns Ltd., Trowbridge, Wiltshire.

• London, Jack., White Fang. Butler & Tanner Ltd., Frome.

• London, Jack. (10/150/15), The Call of the Wild. Mr. William Heinemann/Methuen & Co., Ltd./Butler & Tanner Ltd., Frome.

• Movies Call of the Wild/White Fang

• Roughsey, D., The rainbow serpent. William Collins Publishers Pty. Ltd., Sydney.

• Animals and their young. Childerset, Blackburn North, Vic.

• Daziel, H. (n.d.1881) British Dogs Their varieties, history, characteristics, breeding, management and exhibition. The Bazaar Office, London.

• National Geographic, Vol., No. 4. HSIE

• Virgil. (Lewis, C. D. Tr.), The Aeneid. OUP, Oxford.

• Dillon, M & Garland, L., Ancient Greece, Social and historical documents from archaic times to the death of Socrates. Routledge, London.

• Australian Geographic

PD/H/PE

• Books on PD, the body, sportspeople for example, eg Iooss, W. (188), Sports People. H. N. Abrams, NY.


Mathematics

• Marchant, P., Unity in pattern. The Prince of Wales Institute of Architecture, London.

• Lawler, R., Sacred geometry, Philosophy and practice. Thames & Hudson, London.


Science and Technology

• Norwich, J. J., Great architecture of the world. Mitchell Beazley, London.

• Moataedi, A. Sustainable Architecture Low tech houses.

• National Geographic

• David Attenborough videos


Student Resources

Student-quality art materials

• Art-diaries

• Drawing paper (large and small)

• water-colour paper

• water-colour paints

• crayons

• pencils (colour and lead)

• pastels

• charcoal

• clay

• modelling wax

• plaster

• plaster-bandage

• wire

• wire mesh

• soap-stone

• carving tools


Student Resource Books/CDs/Videos/DVDs/Websites

• Harden, M. Kandinsky Compositions. In Glyphus. http//www.glyphus.com/art/kandinsky/

• Escher. http//www.mcescher.com/

• Heusinger, L., Michelangelo complete works, Special edition for the Vatican museums and galleries. Amilcare Pizzi, Milan.


Evaluation

• Was the unit successful?

• To what extent were the needs of all students catered for?

• To what extent did the students enjoy the unit?

• To what extent did the teaching/learning strategies and assessment approach allow students to work towards and demonstrate achievement of the relevant syllabus outcomes?



THE PHYSICAL LANGUAGE OF PEOPLE

One of five lessons the in unit, A PICTURE A THOUSAND WORDS

FORMS Drawing, painting TIME TAKEN 1 ½ hr LESSON 1/5

OBJECTIVE

Use observations, experiences and imagination as a source for creating images of people.

OUTCOMES

To demonstrate achievement students begin to

• Effectively depict people and other objects using diverse styles and forms.

• Capture hidden themes (eg character, mood, movement) using various techniques.

• Explore the stories written, visually & verbally.

• Discuss and write about possible perception differences re a given work by artist & audience.

• Explore the properties of media verbally and in writing, what effects they produced and why they may have been employed for given works.

• Discuss how subject matter can sometimes become a theme symbolic of something else in a given culture. RATIONALE

This lesson will look at the human figure as a portrayal of actions and intentions of people (eg. a woman squatting with her fingers under a rock is intending to lift that rock, unless she has just put it down), as well as their character, physical appearance, objects (props/wearables) and scene of the works. Thus, though the People is the focus here, Event, Objects, Places & Spaces, and Living Things are in the background of this lesson. We start with illustrated books because they are the first form of art that most of us are exposed to. This art form also has a particularly broad range of styles and levels of difficulty, allowing students fit comfortably into the lessons.


LANGUAGE

character

intention

(self-)portrait

life-drawing

sculpture

foreground

background

profile

realism

figurative

subject

object

 RESOURCES

Illustrations and relevant text from the story books The secret garden, The rainbow serpent, and Alice’s adventures in Wonderland and through the looking glass. Art diaries, drawing paper water-colour paper (large and small), water-colour paints, crayons, colour pencils, pastels. Art room fitted out with areas for drawing, painting and sculpture.


TEACHING NOTES

Provide a collection of images from the texts, magazines & artworks. Heighten students’ visual awareness by focusing on what has been achieved in a work, & how.


SUGGESTED TEACHING AND LEARNING ACTIVITIES

• The lesson should begin with the stimuli being presented to the children, namely illustrations and relating text from story-books. The teacher may present some specialist language now, and introduce some themes from the stimuli.

• Now a general discussion, drawn from the stimuli and from the children’s imagination and experience ensues, covering such topics as themes, media, techniques, places or objects of interest, the characters of the people depicted, their actions and intentions.

• This discussion process may be followed by brainstorming, or other processes of note taking, individually or in small groups.

• During the previous two activities, the children will be thinking about the media they think would be most effective in getting across the kind of message that they are aiming for, which, in most cases, will be something close to the examples given in the beginning of the class.

• In this introductory class, the whole class will watch as each form is introduced. The media used will be dimensional and colourful. Pure tonal and dimensional forms will not be employed this week, but next week, when some of this subject-matter will be reworked in dimensions.

• The children will now commence work in earnest in small groups on loose sheets, or in the books with which they have been provided. Suggest illustration from the text to start and developing from there. Some students may pose for the benefit of others for short periods (5 min. max.).

• Lastly, the children will review what they have done, and write their impressions about what they were happy with or less happy with about their works. Perhaps they also have a few more ideas about the genre, the media or the story which they could note down.


ASSESSMENT

Were the students able to

• Explain some different functions of portraiture?

• Generate ideas from the work of other artists, authors, the natural world and their own imagination?

• Appraise the success of their own and other’s attempts, looking at the strengths and weaknesses with a balanced attitude being neither dispirited by failures nor made arrogant or boastful by success, but directed and encouraged by the same, seeing both as opportunities for learning? EVALUATION

• Where there sufficient stimuli (text, visual, visual-verbal)?

• Was student access to the stimuli facilitated?

• Was there enough to stimulate discussion?

• Were there enough materials?

• Were enough/too-many different art forms covered in the lesson?

• Should forms be limited/helpers added?

• Were the students challenged by and interested in the activity?

• Was their knowledge of techniques, forms, art history and art theory increased?

• Was their confidence in their own art boosted?

• Did the lesson increase the value that the children placed on art in general?


LINKS WITH OTHER

Visual arts activities

Creative arts K-6 Units of Work 2000, p. 46-8 the many merits, meanings & motives of portraiture.


Creative arts K-6 Syllabus 2000, p. 5- posing for the class.


KLAs

HSIE

CSS. Time and Change

CUS. Identities

ENS.6 Relationships with Places


English

WS. Producing Text

WS.10 Skills and Strategies

WS. Context and Text

WS. Language Structures and Features


Science and technology

PP S.4 Physical Phenomena

ES S.6 Earth and its Surroundings

INV S.7 Investigating

DM S.8 Designing and Making


UT S. Using Technology

PD/H/PE

This lesson & unit looks at the human body, the movement of this body and the development of the self.


NOTES



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