Visual Arts LESSON PLAN



EMA441 – Curriculum Method 1: Visual ArtStudent Number: 11532917Sara MalcolmAssessment Item 3 – Lesson PlanValue: 30% Due date: 30 April 2018Task:Using the lesson plan template provided on the interact site, develop a plan for the following scenario: It is Term One, you are teaching an introductory drawing lesson to a Year 7 class. The aim of the lesson is to continue to get to know the students and introduce them to some foundational drawing materials and techniques. This is the lead in to a unit entitled ‘Me, myself and mine’. You have a double period and each period is 40 minutes in duration (total 80 minutes). There are 25 students in the class and each student has a pencil case with coloured pencils and assorted stationery. There are 13 boys and 12 girls and their experiences with visual arts in K-6 have been diverse- some quite extensive, some very limited. The additional materials and resources you have are:?lead pencils (ranging from B-6B) ?erasers ?charcoal ?A1 paper ?access to the internet via a Smartboard ?10 copies of Israel, G. (2004) Artwise One: Years 7-10Visual Arts LESSON PLANUnit: Name of the unit Stage 4 Year 7 Term 1 Lesson No:2/3AIM: Continue to get to know the students and value diversity within the classroomInvolve students in understanding and decoding symbolism and visual metaphor Engage students in the work of artists who use symbolism and visual metaphorIntroduce foundational drawing materials and techniquesStudents start developing their own personal symbolism and visual metaphor by practicing drawing skills using a variety of material and techniques by creating a visual metaphor that represents the student’s personality, behaviour trait, life at home or life at school. Students develop ICT Capability by creating artworks using MoMA Artlab app to realise creative intentions and create solutions.Students develop ICT Capability by communicating through the Edmodo educational social media platform to share, exchange and communicate ideas and information to collaboratively construct knowledgeStudents develop ICT capability by managing and operating MoMA Artlab and Edmodo applications to investigate, create and communicate learning content and ideas. Students apply technical knowledge and skills to select, use and troubleshoot appropriate digital technologies.RESOURCES AND ORGANISATION: This lesson is designed with the ability to be taught in any teaching room should the art room not be available.Resources:Smartboard10 copies of Israel, G. (2004) Artwise One: Years 7-10A1 paperB-6B lead pencilsErasersStudents’ own resources (pencil cases and Visual Arts diary, Ipads)Teacher provided resources – Sheet of symbol examples, sheet of metaphor examples, Colour copies of artwork examples, booklet of drawing and shading techniques, copy of visual metaphor drawing exercise for activity 12. Magnets to pin A1 paper to the smartboard/ whiteboard for class drawing technique demonstration. Teacher provides access to loaner Ipads for students who are unable to bring their own.The resources are to be neatly placed on a table at the front of the classroom for easy student access. OUTCOMES: (Bold = Main Lesson Focus)Artmaking:4.1 uses a range of strategies to explore different artmaking conventions and procedures to make artworks 4.2 explores the function of and relationships between artist – artwork – world – audience 4.3 makes artworks that involve some understanding of the frames 4.4 recognises and uses aspects of the world as a source of ideas, concepts and subject matter in the visual arts 4.5 investigates ways to develop meaning in their artworks 4.6 selects different materials and techniques to make artworks Critical and Historical Studies4.7 explores aspects of practice in critical and historical interpretations of art 4.8 explores the function of and relationships between the artist –artwork – world –audience 4.9 begins to acknowledge that art can be interpreted from different points of view 4.10 recognises that art criticism and art history construct meaning Student learn about: ?the field of visual arts and design as comprising conventions, activities, traditions and customs shaped by different values and beliefs?artists working individually, in groups and in collaboration with others?the function of the artist to make artworks – images or objects?The world as the source of ideas and concepts to make art?the material, physical and virtual form of artworks intentionally made by artists?the world as the source of ideas and concepts to make art?how artists invent, adapt and develop strategies and procedures to investigate the world to make artworks?how artists develop intentions?belief, value and meaning in artmaking in the structural frame?belief, value and meaning in artmaking in the subjective frame?artistic practices, conventions and the networks of procedures that inform the approaches to artmaking of different artists or group of artists.?how the world can be interpreted in art and ways in which ideas are represented?different kinds of artworks in 2D, 3D and 4D forms including their symbolic, representational, physical and material propertiesStudents learn to: ?investigate the field of visual arts and design and approximate some conventions, activities, traditions and customs of the field to make art?make informed personal choices to shape meaning?make images and objects (artworks) that approximate an approach to artistic practice?make artworks using a range of 2D, including drawing materials and techniques and various investigations of the world?record investigations and information gathering in their diary?adapt and develop strategies and procedures to investigate the world to make artworks?develop artistic intentions arising from relationships between artist – artwork – world – audience?use their imaginations, intuitions, sensory and deeply felt experiences and views of beauty in the development of ideas in the making of art, ?investigate and employ a range of conventions including codes, symbols and signs and consider how communication is embedded in the material and conceptual organisation of artworks and offer a way to develop representations of ideas and interests in the world in the making of art?adopt the role of an audience member when viewing art?identify and seek to explain how artists and audiences can read artworks as images or texts by understanding conventions including codes, symbols and signs and how these are embedded in the material and conceptual organisation of artworks.PRACTICE Art making (AM) Art History (AH) Art criticism (AC)CONCEPTUAL FRAMEWORK: Artist-Artwork-Audience – (A-A-A -W)The lesson begins with students breaking the codes of symbolism and metaphor as an interpreter or viewer (audience) The students are then focused as the artists who make their own artworks (Artist). The drawings produced by the students, along with the artworks examined within the lesson are the artworks (Artwork) The symbols, metaphors and drawing techniques discussed in the lesson are subject matters that exist in the world (world)FRAMES: Structural (SF):Students explore code systems and visual language through symbolism and metaphor via the SF. This includes how symbolism and metaphor communicate ideas, and how students can read these codes. Students also learn the basic rules of traditional drawing and shading techniques via the SF.Subjective (SuF):Students have the opportunity to explore the Subjective frame by engaging with individual experiences, emotion, feeling, intuition, consciousness and imagination through responding to artworks and facilitated discussions throughout the lesson in critical and historical studies. Students also make a drawing which express individual characteristics, behaviours, home or school worldsARTMAKING ACTIVITIES 3.Students play Symbolic Pictionary (game setup, rules, instructions and point system attached as appendix A) (SF, outcomes 4.1, 4.4, 4.5,4.6) 6.Students are asked to select a drawing material of their choice and sketch a quick drawing in their VAD of an animal that has similarities with them (for example, if a student is tall, they could draw a giraffe. Sleepy – koala. Lazy – sloth). Students draw intuitively and by experimentation with drawing materials without any instruction to allow creativity (SF, SuF, Outcomes 4.1, 4.3, 4.4, 4.5, 4.6). Explain that students have just created a metaphor when they compare their personal characteristics or similarities to an animal.Period 28.Hand out booklet of drawing and shading techniques (Appendix 2). Teacher leads students through drawing technique demonstration using different drawing materials and shading techniques. Drawing happens step by step together on an instructional basis with the teacher asking students input on where certain shading techniques could be added to create texture, shadow, 3d effects. Teacher draws on an A1 sheet of paper on the board as a demonstration and students draw in their VAD. Teacher asks students to repeat the same drawing techniques using the MoMA app on their ipad, experimenting with the different pallets and drawing functions. (SF) Teacher also demonstrates the different qualities of lead pencils and charcoal and the effects of an eraser, as well as demonstrating how the same techniques may be achieved using the drawing functions on the MoMA App. (Outcomes 4.1, 4.5, 4.6) – 10.Hand out a copy of Frida Kahlo’s Self-portrait and ask students to individually identify areas of shading and shapes by drawing over the top the picture with materials of their choice. Images to be stuck in VAD for teacher to check Using Ipads, students are to select and symbolic artwork by Frida Kahlo from the gallery within the MoMMA App. Students are asked to use the interactive functions in the app to identify, highlight, and select different areas of shading and shape by drawing over the existing image. Finished images are to be saved to the gallery and uploaded to the class Edmodo page with a brief description of the identified areas of shape ad shading. (SF,AM, Outcomes 4.1, 4.6) – (this task can be assigned as an extension or homework task at the teachers discretion)11.Students are asked to combine all aspects of the lesson by creating a drawing of a metaphor using the shading techniques discussed in class. Verbal instructions are provided along with an activity reference sheet (Appendix A). Students are provided a sheet of A1 paper and are given the choice to choose any drawing materials explored in class, including the use of the MoMA drawing app. Students a given full creativity as to what scale, proportion, dimension or drawing material they want to use, Students are to draw based on observation of their chosen metaphor type using the drawing techniques discussed in class. Students may wish to incorporate intuitive drawing.. Students are asked to take a photograph of their completed drawing and upload it to the classroom Edmodo page. Students are asked to post a short description with their image describing the shading and materials used. Students are also asked to comment on 2 fellow classmate’s work highlighting an aspect of the shading/ materials used that they like the most. Students are given extra time to finish their drawings as a homework task with a presentation of the finished drawing to be done the beginning of the next class (AM, SF, SuF, Outcomes 4.1, 4.2, 4.3, 4.4, 4.5, 4.6)NOTE: If students wish to borrow a drawing materials or an Ipad to complete their drawing, the borrowed material/ device is noted in their student diary noting the promised return the material the next class to be signed off by the parent.Teacher facilitates classroom clean-up protocol and asks students to evaluate the lesson by completing the student feedback sheet handed out by the teacher (Appendix A). Students leave completed sheet on their desk as they exit the classroom.CRITICAL AND HISTORICAL STUDIES ACTIVITIES Period 11.Ask students what they think a symbol is. Students write their answer in their VAD and asked to share their answer when called upon. The definition of symbolism from the textbook is recorded in students’ VAD (pg289). The class as a group starts exploring symbolism by discussion facilitated by the teacher (how can we tell what this symbol means? What are the clues? Where can you find symbols in everyday life? – SuF,) Key metalanguage words, such as: symbol, symbolic meaning, symbolic image or artwork, representation, code and visual metaphor –are written on the board for students to copy into VAD (Outcome 4.7, 4.8, 4.9)2.Symbolic meaning is further illustrated by using the smartboard to show images of simple symbols and asking students to identify what each symbol represents (Peace sign represents peace, a red traffic light represents stop, a heart represents love, a cross represents religion – SF, A-A-A-W ). A sheet is handed out to stick in VAD that provides simple examples of symbols. (Outcome 4.7, 4.9,4.10) 4.Show an example of Frida Kahlo’s broken column (Appendix A). Scaffold questions to facilitate discussion: (What meanings is this artist trying to communicate? What are the clues? How do my personal experiences help me understand and make sense of this artwork? How is this artwork designed to make meaning? CITATION Eil12 \l 3081 (Honan, 2012), SF, SuF, A-A-A-W – Outcomes 4.7, 4.8, 4.9)5.Expand student’s understanding of symbolism by introducing the concept of metaphor and provide the definition from the textbook (pg 287). The class as a group starts exploring metaphor by discussion facilitated by the teacher (what are some examples of metaphors that you already know? How can you work out the meaning of a metaphor) The difference and similarities between symbolism and metaphor explained. Key metalanguage words are written on the board for students to copy into VAD. (SF, SuF, Outcome 4.7, 4.8, 4.9)7.Teacher shows an image of Frida Kahlo’s self portrait on the smart board. Teacher scaffolds questions for the codebreaking and analysis of the artwork (What do you see? What kinds of characteristics does this artwork have? What What are the characteristics of a bird, monkey, cat? What can the vine around the neck mean? What does the expression of the face tell you?). Teacher explains the general intention of the artwork and asks if the students can now see the metaphor Practice – AM, AH, AC – Outcomes 4.7, 4.8, 4.9,4.10).9.Students are asked to re-join their teams and are each are handed a copy of the textbook Israel, G. (2004) Artwise One: Years 7-10 and asked to work together to find an example of an artwork where a particular shading technique discussed in class has been used. 1 person from each team shows the example to the whole class. Students note all examples in their Visual Arts Diary (Outomes 4.6 4.8)EVIDENCE OF LEARNING:- Answers to questions and notetaking within student’s visual arts diary, and Edmodo uploads and comments demonstrate student’s active engagement with learning content- Oral and written responses to class discussions as noted by the teacher during class and on the Edmodo platform- Oral discussions and Visual Arts Diary notetaking about the artworks of Frida Kahlo demonstrate student’s understanding of the Frames, Conceptual Framework and Practice.- Drawings completed during class activities within the VAD, on the Edmodo platform and note taking of examples provided by other students demonstrate active engagement with contents and learning tasks. Investigating, creating Managing and operating the MoMA app demonstrates the development of ICT capability.- Drawing completed demonstrate the student’s understanding of symbolic and metaphoric uses in artworks, along with the ability to practice and use traditional and digital drawing techniques and materials. Sharing, exchanging and communicating ideas and information by operating the Edmodo platform demonstrates the development of ICT Capability.- Resolved drawing completed for homework demonstrates students understanding and application of critical and historical studies into a practical artmaking context. - Teacher updates idoceo during and after class to track student individual progress.VARIATIONS: ?Teacher may opt to choose either symbolic or Metaphoric Pictionary or both games depending on the student’s needs, enjoyment and time constraints. ?Teachers can opt to use handmade flashcards instead of using the smartboard should the smartboard not be available.?Students with less artistic experience may opt to use the MoMA app or text instead of drawing an object/ animal or vehicle for activity 12, using the shading and drawing techniques demonstrated in class to make the text 3D. Students may also be given the choice to find an existing image of their chosen metaphor and draw over the top of the image using the shading and drawing techniques, highlighting areas of texture and shadow and adding extra personal details of their choice.?Students who are more artistically experienced may choose to draw 2 versions of their chosen metaphor using both the digital and physical drawing techniques image exploring different drawing materials and shading techniques.?This lesson may be spread over an additional double period if there is a need to cater for EAL/D, special needs learning or disabilities, of if the teacher believes that additional time is required to develop deep understanding of concepts, materials and techniques. A refresh of how to use the Edmodo platform or the MoMA app may be necessary for students who need further assistance. ?Please see Appendix C for additional strategies and lesson variations that cater for EAL/D, Indigenous, refugee and special needs students based on the Multiliteracies approach to pedagogy and Four Resources Model as described by Robyn Henderson CITATION Rob12 \l 3081 (Henderson & Exley, Planning for Literacy Learning, 2012).?This lesson may be integrated as an introduction into the unit “Me, Myself and Mine”. The example artworks for symbolism and metaphor may be changed depending on the unit focus, and the artmaking activity 12 may be altered to align with the unit learning aims.?The artworks used for symbolic analysis may be changed at the teacher’s discretion. Frida Kahlo’s nudity may distract students rather than engage them in the class content. Another alternative example is provided in Appendix A. ?This lesson may be altered in sequence at the teachers’ discretion based on what the teacher believes will initially engage the students best – for example the practical component of the lesson may be started first rather than the critical and historical component.?If there are time constraints in the completion of all lesson plan activities, the teacher may opt to use activity 10 as an extension or homework task. Additionally, students may be assigned activity 12 as a homework project should the teacher believe that students have a good grounding on the concepts of symbolism and metaphor and are. Furthermore, Activity 9 may be replaced with the use of the MoMA app, where students are asked to browse the gallery of artworks available. This task can be collaborative or assigned as a singular homework task. ?Students with different cultural backgrounds are encouraged to engage with any symbolism or cultural metaphors that relates to their background and be shared with the class for activity 12. For example, an Indigenous student may be encouraged to draw a scene from a Dreaming story FEEDBACK AND ASSESSMENT: Teacher observation and oral redirection, encouragement, correction and feedback during class time will be individually provided to students. Teacher will also provide individual commentary on posts made to the class Edmodo page.Assessment for lesson activities is informal with the student’s achievements tracked through finished drawings, Visual Arts Diary entries, posts and comments made to the class Edmodo page and teacher notes using idoceo. Students provide feedback by completion of a student feedback sheet at the end of the lesson (Appendix A)EVALUATION: Evaluation is to be completed after the lesson. Teacher is to self-evaluate on their approach to pedagogy and how the students received and absorbed learning content using idoceo. Teacher also uses idoceo and Edmodo to track each students’ individual performances during each class, and modify any future lesson plans based on student’s individual needsStudents are to spend a few minutes at the end of the class to complete a Student Feedback sheet (Appendix A). This sheet will ask the students questions about their learning experience during the lesson, as well as asking what they found most difficult and enjoyable. This tool will assist in idoceo notetaking and modifying future lesson plans to cater for student needs.Teacher checks student’s Edmodo posts prior to next lesson and will check Visual Art Diary during the next lesson while they move around the class to see individual students to provide oral feedback, redirection and encouragement. Bibliography BIBLIOGRAPHY Auditory Processing Australia. (2016). In the Classroom: Assisting a child with ADP at home and in the classroom. Retrieved from Auditory Processing Australia: BIBLIOGRAPHY Christenson, M. (2016). How to Introduce symbolism in the form of a game. Retrieved from The art of Education: , A. (2012). Multimodial Litteracies: New Approaches and Traditional Concerns in the Suburban Classroon. In R. Henderson, Teaching Literacies: Pedagogy and Diversity in the Middle Years (pp. 166-189). Victoria: Oxford University mon Sense Educaton. (2016). Coggle: Creative, visual mind-mapping tool makes brainstorming a cinch. Retrieved from Common Sense Education: , B., & Kalantzis, M. (2001). Putting multiliteracies to the Test. Newsletter of the Australian Literacy Educators Association, 1-2. Retrieved from , R. (2012). An Holistic Approach for Supporting Written Literacy Skills for EAL/D Learners. In R. Henderson, Teaching Literacies: Pedagogy and Diversity in the Middle Years (pp. 208-235). Victoria: Oxford University Press. BIBLIOGRAPHY Drawing, B. (2012). Drawing and Shading techniques. Retrieved from Bik Drawing: , B. (2012). Valuing Diversity: A Multiliteracies Project in a Remote Indigenous Community. In R. Henderson, Teaching Literacies: Pedagogies and Diversity in the Middle Years (pp. 236-238). Victoria: Oxford University Press.Henderson, R., & Exley, B. (2012). Planning for Literacy Learning. In R. Henderson, Teaching Literacies: Pedagogies and Diversity in the Middle Years (pp. 18-56). Victoria: Oxford University Press.Henderson, R., & Woods, A. (2012). Teaching for Quality and Equity: Refocusing the Lens to Make Diversity and Difference Visible. In R. Henderson, Teaching Literacies: Pedagogy and Diversity in the Middle Years (pp. 113-131). Victoria: Oxford University Press.Honan, E. (2012). Using Digital Texts to Enage Students. In R. Henderson, Teaching Literacies (pp. 57-80). Victoria: Oxford University Press.LCW. (2015). The Cultural Iceberg. Retrieved from Language & Culture Worldwide: . (2018). Language Processing Disorder. Retrieved from Learning Disabilities Association of America: , K. L. (2011). Mapping Multiliteracies onto the Pedagogy of K-12 Teachers. Ontario: Ontario Institute for Studies in Education of the University of Toronto. Retrieved from . (2003). NSW Board of Studies Visual Arts Years 7-10: Advice on Programing and Assessment. Retrieved from NSW Education Standards Authority, NESA: , N. E. (2003, June). NSW Visual Arts Syllabus Years 7-10. Retrieved from NSW Educations Standard Authority NESA: Ranzjin, W. N. (2009). Introduction to cultural competence. In Psycology and Indigenous Australians: foundations of culturan competence (pp. 3-12). South Yarra, VIC: Palgrave/ Macmillan.Simandan, V. (2012). Using the Four Resource Model to Map Out Plans for a Literacy Lessons. Journal Plus Education, 8(1), 232-240. Retrieved from addition + Exceptionally sophisticated development of the lesson. A high level of ingenuity and originality in learning design22.5-24In addition + Concise, thorough and highly engaging lesson.?There is clear?consideration of alignment?between?curriculum content and pedagogy. Reference is made to the prescribed text and there is an?innovative and effective use of resources19.5-22In addition + Development of a?detailed and engaging lesson. The key?areas?are?all?addressed specifically?in the teaching and learning activities. The lesson addresses a?range of?learning?needs and there is?meaningful integration of content. Reference is made to the prescribed text and?resources are used effectively.15-19Clear and appropriate development of a lesson appropriate for stage 4 learners, with clear links to selected outcomes.The key areas in the lesson plan template are all addressed in the teaching and learning activities and the activities cater for a range of needs.The lesson effectively engages experiential learning.Some reference is made to the prescribed text and available resources. Correct APA referencing procedures have been applied.?<15Inadequate/unsatisfactory development of the lesson. The lesson is not appropriate to stage 4; does? not cater for a range of learning needs; does not address appropriate content.?Correct APA referencing procedures have not been applied.? ................
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