Subject DANCE DRAMA MEDIA MUSIC VISUAL ARTS

Unit Title: Texture Prep Yr 1 Yr 2 Yr 3 Yr 4 Yr 5 Yr 6

Achievement Standard

● Students describe and discuss similarities and differences between artworks they make, present and view.● Students discuss how they and others use visual conventions in artworks.● Students collaborate to plan and make artworks that are inspired by artworks they experience● Students use visual conventions, techniques and processes to communicate their ideas.

Learning Intention● Learners will develop an interest in texture, both real and implied, and how it can be used to enhance their art work.● Learners will increase their vocabulary by developing a language of texture.● Learners will see texture, feel texture and create implied texture through their developed awareness and practical experiences.

Success Criteria

● Learners are able to transfer their understandings of implied texture to the medium of paper using the technique of collograph.● Learners create a printing plate with attention to overall composition and good workmanship.● Learners are able to transfer their understandings of implied texture to the medium of paper using the technique of frottage● Learners are able to transfer their understandings of actual texture to the medium of clay.

Core Content Elements Principles Medium Style Display

Selecting and Combining

LineShapeColourTextureForm

BalanceEmphasisMovementPatternRepetition

ProportionRhythmVarietyUnity

DrawingPaintingFibreSculpturePhotography

CollageCeramicsPrintmakingDesign

FigurativeRealismExpressionisticImpressionistic

PersonalAudience

Practices Skills Techniques Processes

Recognising the meaning of working like an artist as:

appropriate behaviours

organising materials and cleaning up

naming, framing and displaying work

investigative: researching, discovering

reinterpreting artworks from various viewpoints as artist and audience

observational: seeing, noticing, viewing critically

practical: use and handling of visual arts materials, equipment

photo-montageweavingblock printingdigital imagingwrapping

ceramicscollagraphfrottage

investigatingdeterminingexperimentingquestioningpredictingtestingconceiving

evaluatingcomparinganalysingobservingidentifyingconnecting

Learning Framework Community ContributorLeader and Collaborator

Active InvestigatorEffective Communicator

Designer and CreatorQuality Producer

Cross Curricular Priorities

Catholic EthosAboriginal and Torres Strait Islander

Histories and Cultures

Social Emotional LearningAsia and Australia’s Engagement with

Asia

Inclusive EducationSustainability Education

General Capabilities LiteracyCritical and Creative Thinking

NumeracyEthical Behaviour

Information and Communication Technology

Personal and Social Competence

Content Descriptors Elaborations

Making Exploring ideas and improvising with ways to represent ideas4.1 Explore ideas and artworks from different cultures and times, including artwork by Aboriginal and Torres Strait Islander artists, to use as inspiration for their own representations. (ACAVAM110)

● The learners will look at Maurice Sendak’s illustrations in ‘Where the Wild Things Are’ as an inspiration for drawing their own monsters and using frottage to add texture.

(Lesson 6: My Monster)

Making Developing understanding of practice4.2 Use materials, techniques and processes to explore visual conventions when making artworks (ACAVAM111)

● The learners will use a variety of materials including clay to make a sculpture. They will discover the techniques of collagraphy and frottage and explore the design element of texture.

(Lesson 4-5: Collagraph, Lesson 6: My Monster, Lesson 7-8: Creating a Monster )

Responding Sharing artworks through performance, presentation or display4.3 Present artworks and describe how they have used visual conventions to represent their ideas (ACAVAM112)

● The learners will share ideas with their classmates about the representational choices they make in an artwork and display their sculptures in a public part of the school, such as the school library. Art Talk

( Lesson 7-8: Creating a Monster)

Responding Responding to and interpreting artworks2.4 Identify purposes and meanings of artworks using visual arts terminology to compare artworks, starting with visual artworks from Australia, including visual artworks of Aboriginal and Torres Strait Islander Peoples (ACAVAR113)

● The learners will explore the use of texture in Maurice Sendak’s illustrations as an inspiration for drawing their own textured monsters. (Lesson 6: My Monster)

Knowledge and Skills Learning and Teaching Activities Vocabulary Resources Assessment

1 Focus:The learners explore a variety of textures in their environment and create a collaborative and personal Texture Vocabulary Chart.Representation:● Forms: Photography● Visual Conventions: texturePractices:● Investigative Skills: researching,

discovering● Observational Skills: seeing, noticing,

viewing critically● Processes: analysing, observing,

identifying

Texture HuntWarm Up:Exploration and Vocabulary● Ask the learners to close their eyes and hold their hands out.

Place various natural and man-made objects with distinct textures , eg. sponges, feathers, sandpaper, fabric scraps, in each child’s hands and ask them to take turns describing what they feel while their eyes are still closed.

● Write their responses onto a large sheet of paper/card and add any other descriptive words they can think of.

● With these, and others the children will be invited to bring from home, create a Texture Display in the classroom.

Texture:realactualvisualimplied

Descriptive:hard, soft, sharp, shiny, dull, smooth, rough, coarse, prickly, spikey, matt, gloss, slippery, slimy,

☐ A3 paper☐ Various samples of different textures (approx 3cm square) - enough for five each eg. sandpaper, fabric scraps, feathers, sponges, scourers, wood, cotton wool.☐ Large sheet of paper/card☐ IPads or

Formative:● Personal

Texture Sheet: Learners choose accurate words to describe various textures.

● Texture Hunt: Learners are able to demonstrate

TEXTURE1. Texture is the surface quality of an

object2. Texture involves two senses, the visual

and tactile. Therefore there is a) simulated texture - feels different when touched. It is the illusion of texture. b) actual texture - feels as it looks. It is an important element for craftsmen, interior decorators, potters, and architects.

3. Found textures can be used to create art: Collage, rubbings, printing (eg. leaf printing) constructions, slide transparencies, plaster casts, weaving

4. Artists can create their own textures (simulated and actual): drawing, thick paint, craypas etching, ceramics, etc. Different tools and materials facilitate different textures.

5. Texture affects colour.6. Texture creates mood and feeling.7. Texture can create the illusion of 3

dimensional space: a) objects with clear, sharp, and hard surface textures tend to advance in space. b) objects with hazy, fuzzy, and soft surface textures tend to recede in space.

8. Some words which describe texture: hard, soft, sharp, shiny, dull, smooth, rough, coarse, prickly, spikey, matt, gloss, slippery, hot, cold, slimy, wet, dry, abrasive, etc.

9. Some texture perceptual aids: feely boxes, texture cards, texture tables, field experiences, environments.

Making:Personal Texture Sheet● Hand each learner an A3 piece of paper and a pencil or felt

pen. Ask them to trace the outline of their hand onto the paper five times.

● Allow them to choose a textured object to glue onto each hand and write a word underneath each one that describes how it feels.

Texture Hunt● Hand the learners the

‘Texture Hunt’ sheet and have them explore the school environment searching for a range of textures. Allow them to take photos of at least three types of texture listed on the sheet.

Responding:● Allow learners to share one photo they have taken while the

other students try to guess which word on the sheet they used to describe the texture.

Follow Up● Collate photos into a slideshow for future lessons.Print out the learners’ photos and glue into their art books

wet, dry, abrasive

Cameras☐ Handout:Texture Hunt

their understanding of texture through their selected photos

● Photo sharing: The learners demonstrate their understanding of texture by guessing which descriptive word has been represented by their classmate’s photos.

2-3 Focus:The learners discover the difference between Actual Texture and Implied Texture and create a

Actual Texture Vs Implied Texture-Activate Prior Learning:Texture Hunt● Using the slideshow of the learner’s Texture Hunt photos

Texture:realactualvisual

☐ Slideshow of collated photos taken during Lesson One’s

Summative:Assessment Sheet● Learners are

work of art that utilizes both.

Representation:●Forms: Drawing, Design●Techniques: Pattern●Visual Conventions: texture,

similarity & difference●Materials: understanding the

qualities and properties of a range of materials

Practices:●Processes: exploring,

experimenting, constructing●Spaces: recognising the

meaning of studio for visual artists and adopting appropriate behaviour in the studio as a specialised space, for example, cleaning up, organising materials, naming work and exhibiting work.

(Lesson 1), revise what texture is (ie.how an object feels) and some of the words used to describe various textures.

Warm Up:Actual and Implied● Ask the learners if the pictures are textured. Elicit from them

that the original objects that were photographed feel soft/hard/bumpy/etc. but the pictures only look soft/hard/bumpy/etc.

● Explain the difference between Actual Texture (the object has real texture that can be felt with the hand) and Implied Texture (the object looks like it has a texture that is different to how it really feels).

● Search the classroom for something that actually feels rough, eg. carpet. Next, look for something that looks like it would feel rough but feels smooth to touch, eg. pattern on desks or benches, photo of carpet.

Making:Abstract Texture on Card● Give each learner a small (approximately 10-15 cm square)

piece of cardstock.● With PVA glue, they ‘draw’ three or four lines on the card.

Encourage them to draw each line from edge to edge, this will allow them to extend them beyond the edges later.

● Put the cardstock aside to allow the glue to dry.● While the glue is drying, hand out the ‘Implied Texture’

Handout.● Discuss whether the textures shown are actual or implied (they

are implied), and tell the children that, using a pencil, they can also create implied textures.

Encourage them to create visually similar textures to each of those shown on the sheet.LESSON 3● Once the PVA glue has dried on the cardstock, the learners

cover it with heavy duty foil and rub over it gently with their

implied

Descriptive:hard, soft, sharp, shiny, dull, smooth, rough, coarse, prickly, spikey, matt, gloss, slippery, slimy, wet, dry, abrasive

Texture Hunt.☐ Squares of cardstock (approx 15cm²)☐ Squares of black card (approx 20cm²)☐ PVA glue☐ Heavy Duty Foil☐ Handout: ImpliedTextures

able to demonstrate their understanding of actual texture in an artwork.

● Learners are able to demonstrate their understanding of implied texture in an artwork.

fingers to make sure that the glue lines are easily seen.● Using a blunt pencil, the learners can insert a different pattern

into each section on the card.● When all of the sections have been filled, glue the card onto a

black piece of cardboard.● With a metallic marker have the learners extend the lines and

patterns to cover the black card.Responding:Consolidation● Encourage the learners to compare the patterns on both the

foil and black border. Discuss how they both look like they have a bumpy texture but only the foil section has actual texture. The patterns on the black border are implied because in reality they feel smooth.

4-5 Focus:The learners will use various textured objects to create a printing plate, and then print it using the technique of collagraph.

Representation:● Forms: printmaking● Techniques: collagraph is a basic a

method of printmaking using a board with collage materials glued onto it to form a relief surface with a variety of textures.

● Visual Convention: texture● Materials: understanding the qualities

and properties of a range of materials

Practices:● Investigative skills: discovering● Observational skills: viewing critically● Practical skills: use of visual arts

materials - collagraph● Processes: exploring, experimenting,

CollagraphWarm Up:Introduction● Explain to the learners that with most types of printing, the

advantage is being able to produce multiple copies of the same piece (except for monotyping). Each print, though, is not considered a "copy" but rather is considered an "original".This is because typically each print is unique enough due to the variations produced during the printmaking process.

Making:Printing Plate● Give each learner a piece of thick card to be used as the base

for their printing plate.Have the learners coat areas liberally with PVA glue using a paint brush and then add textures, a small area at a time. Explain that the glue needs to be sufficient to glue down all the objects firmly, whilst still allowing the texture to show through.● Encourage them to constantly be assessing the overall

aesthetic of their art work, making conscious decisions about where to place each added object.

collagraphplateregistrationburnish

☐ Thick cardstock as a base. (Approximately A5)☐ PVA glue☐ Varnish (optional)☐ A variety of objects to be glued onto the surface: eg. rice, sand, tea, leaves, puzzle pieces, fabric, string, wool, ribbon, foil, thin card eg. cereal box, bubble wrap☐ Ink suitable for printmaking (while it does not work as well, acrylic

Summative:● Learners

create a printing plate with attention to overall composition and good workmanship.

● Learners are able to transfer their understandingof implied texture to the medium of print using the technique of collagraph.

predicting, conceiving, evaluating, constructing

● Spaces: recognising the meaning of studio for visual artists and adopting appropriate behaviour in the studio as a specialised space, for example, cleaning up, organising materials, naming work and exhibiting work.

● Once the learners are happy with their design allow them to dry overnight, drying on a flat surface.

● Have the learners then seal the plate with a thin layer of matte varnish, ensuring a complete layer of coverage. ( NB. PVA glue may be used again at this stage if varnish is not available. The finished print will not be as detailed but it will provide some protection so that the

plate may be used more than once, if desired.)● Allow plate to dry overnight once again.

Printing● When the varnish/glue has dried,, have the learners cover the

whole plate very carefully in a thin layer of ink with a paintbrush. If this layer is too thick many of the details will be lost.

● Using A4 paper, centre it over the plate and lower it carefully to prevent smudging. Once the paper is in place have the learners slowly and carefully burnish the surface of the paper with their fingertips, rubbing it into all the crevices. Go over the entire surface several times. This needs to be done very thoroughly to achieve the best results.

● Very carefully peel the paper back to reveal the collographed print. Allow to dry.

● At this stage another print may be made from the same plate by re-inking the surface and using a new piece of paper. If a different colour is to be used, the surface will need to be carefully wiped clean before applying the new ink.

● When they have dried, have the learners sign each of their prints and number it eg: 2/5 would be the second print in a series of five.

paint may be used if ink is not an option.)☐ Brushes☐ Paper

Demonstration videos available online for teachers:YouTube Video Part 1https://www.youtube.com/watch?v=3MpvHHWqoFU

YouTube Video Part 2 https://www.youtube.com/watch?v=W-1QLLbjSG8

6 Focus:The learners learn how to make implied textures by using rubbings (frottage). They make a range of different rubbings and select and apply rubbings to their

My MonsterWarm Up‘Where the Wild Things Are’ Book Reading● Read Maurice Sendak’s ‘Where the Wild Things Are’ to the

frottagerubbingcoarse textureoutline

☐ Maurice Sendak’s ‘Where the Wild Things Are’ Book☐ A variety of

Formative:Experimental Frottage Sheet: Learners demonstrate

drawing of a monster.

Representation:● Techniques: pattern● Visual Conventions: texture, similarity

and contrast● Materials: understanding the qualities

and properties of a range of materials● Technologies: traditionalPractices:● Observational skills: seeing, noticing

texture in their environment● Practical skills: use of materials for

frottage.● Processes: experimenting, testing,

evaluating, comparing● Spaces: recognising the meaning of

studio for visual artists and adopting appropriate behaviour in the studio as a specialised space, for example, cleaning up, organising materials, naming work and exhibiting work.

Viewpoints:● recognising artists and artworks

class.● Examine Maurice Sendak’s monsters and identify the various

parts of different animals that have been used in creating them. As a class nominate other animals that might help make an interesting monster.

● Identify and discuss the various patterns used in the different monsters and ask the learners how they think each of them would feel to touch.

● Explain that these patterns were drawn but another way to make textures is to place paper onto a coarse textured surface and rub a dark pencil or oil pastel over the top. Introduce them to the term ‘Frottage’

Making:R-r-r-rubbings● Hand out butchers paper, show the learners how to fold it in

halves repeatedly until they have eight equal sections.● Unfold the paper and allow the children to choose from a

variety of textured surfaces to create some rubbings, with a different texture in each section.

● Once the learners have collected eight different textures, ask them to draw a simple monster shape onto a separate sheet of paper and go over the outline with a marker. Explain that they will need to leave large sections vacant so they can be filled with various rubbed textures. Encourage them to make their monster large enough to fill up the whole paper.

● Once the learners have outlined their monsters have them choose their best rubbings from their first sheet and do them again to fill the various sections of their monster picture. Encourage them to use different coloured oil pastels for the different sections. Encourage them to use stronger, darker colours as very light colours will not be easily visible.

surfaces suitable for frottage: leaves, onion bags/coarse netting, woven placemats, soles of shoes, corrugated cardboard, concrete, small twigs, bark, carpet squares (back), etc.☐ Butchers Paper v Oil Pastels v Markers

their ability to create implied texture by taking rubbings of various surfaces.

Summative:My Monster Frottage: Learners are able to transfer their understandings of implied texture to the medium of paper using the technique of frottage.

Responding:● Have the learners create a name for their monster and think of

one interesting characteristic about them to share, eg. “My monster’s name is Felix and he likes enjoys jumping on pogo sticks”

7-8 Focus:The learners apply their knowledge of texture to creating a visually interesting textured sculpture.

Representation:● Subject matter: sculpture● Techniques: pottery● Visual Conventions: texture, balance,

contrast● Materials: Understanding qualities and

properties of a range of materials

Practices:● Investigative skills: reinterpreting art

works from various viewpoints● Practical skills: use of visual art

materials and equipment● Processes: experimenting, testing,

evaluating● Spaces: recognising the meaning of

studio for visual artists and adopting appropriate behaviour in the studio as a specialised space, for example, cleaning up, organising materials, naming work and exhibiting work.

Viewpoints:recognising artists and artworks

Creating a Monster-Activate Prior LearningRemembering the Wild Things● Revise the story of ‘Where the Wild Things Are’● Ask if the textures used in their Frottage (previous lesson) were

actual or implied? (implied)● Explain that they will now be given the opportunity to create a

three dimensional version of their monster and apply actual texture to it.

Making:Clay Joining Techniques● Hand out a fist-sized piece of clay to each learner. Explain that

clay shrinks as it dries and if they do not join the different parts correctly, their monster will fall apart once it is dry. Introduce the term ‘Score, Slip, Blend’, which basically means they must scratch and wet their clay to join it.

● Taking two small pieces of clay, demonstrate how to roughen up each side of the two sections, create slip using your finger and a small amount of water, and then squeeze the two parts together carefully but firmly. If a seamless join is wanted, show how to blend the two pieces together using your fingertips.

● Have the students practice joining two small pieces of clay themselves.

Creating a Monster● Using their monster drawing from the previous lesson as

inspiration, have the children build a monster sculpture with their clay, paying particular attention to adding several different textures their art work.

● Remind them that ‘smooth’ is also a texture and can add a nice

scoreslipblendtexturepatterncontrastbalance

☐ Maurice Sendak’s ‘Where the Wild Things Are’ Book☐ Clay and clay boards☐ Various instruments for creating texture eg. plastic forks, fabric scraps, etc.Water

Summative:Assessment sheet:

Learners are able to transfer their understandings of actual texture to the medium of clay.

Learners display a finished sculpture and explain how they have used particular design elements.

contrast to heavily patterned sections.● Explain that they will need to think about how they will balance

their sculpture as they construct it so that it is able to stand without falling over when finished.

● Provide lots of implements for the students to use, eg. plastic forks, toothpicks, costume jewellery and other objects that could be used to create imprints in the clay.

● Allow clay to dry completely. If access to a kiln is available, the sculptures may be fired.

Responding:Art Talk● Display the finished monsters in a space such as the school

library.Discuss with the learners how they have used the various art elements and design principles in their art works, especially texture, balance, and contrast.

Name: Assessment Grid Date:

Imagining and creating new

works

Using skills, techniques and

processes

Using skills, techniques and

processes

Interpreting and appraising the works of others

Using codes and conventions

Using skills, techniques and

processes

Presenting with purpose

Art Work Collagraph Collagraph Monster Frottage Monster Frottage Monster Sculpture Monster Sculpture Monster Sculpture

EXCEEDS CRITERIA ▲ ▲ ▲ ▲ ▲ ▲ ▲

MEETS CRITERIA

☐ experiments with and explores the use of texture in a collagraph print.

☐ creates a printing plate with attention to overall composition and good workmanship.

☐ selects and applies a range of clear, strong rubbings to a drawing

☐ uses the work of a familiar artist to influence their drawing rather than to copy from.

☐ uses a variety of textures in a clay sculpture

☐ uses the technique of ‘score, slip, blend’ to create secure joins in a clay sculpture

☐ displays a finished sculpture and explains how they have used particular design elements

TOWARDS CRITERIA ▼ ▼ ▼ ▼ ▼ ▼ ▼

Evaluation

Planning for Differently Abled Students

Student/s Different Ability Australian Curriculum addressed

Learning and Teaching Strategies Assessment Strategies

Reflection on Unit Identify what worked and how it worked during the unit

● Learning activities that worked well and why● Learning activities that could be improved and how● For, Of and As assessment that was effective and why● For, Of and As assessment that could be improved and

how● Common student misconceptions that need, or needed, to

be clarified.