The Levett School ART Scheme of Work – Work in progress

Year 7Term: Y7 Autumn 1 Theme: LIFE and DEATH (Art connected to Death)Content ARE objectives. Activities Useful Resources1. research and plan a Roman Gravestone

Discuss with the children that over the next few weeks in Art we are going to be looking at art surrounding the topic of Death. Children to complete their concept map – thinking of all the things that they think we could use to link art to death.

In this session the children are going to use the IPad, images, laptops to find a range of images that inspire them about the shapes, textures and contents of a roman gravestone – children to use these images to create a mood board or a planning image ready for the next session.

2. investigate the medium of clay to create a roman gravestone.

Children to use the clay to create their own gravestone – children to use the tools and their planning/ mood boards to be able to ensure an accurate representation.

3. investigate Egyptian death masks and then create a planning document.

Stage 1

Children to investigate and create a planning document around the theme of Egyptian death masks. Children to create a mood board and then they can create a planning document which shows what they want their masks to look like and how they will be decorated.

4. investigate the medium of mod rock and use it to create a 3d model of an Egyptian Death mask.

Stage 2

Children to mod rock their death masks to create a 3d model – children will then leave this to dry for the week until the next session.

5.Children to Stage 3

investigate the medium of paint to decorate their 3d models.

Children to paint and decorate their Egyptian death mask.

6. investigate and create a “danse macabre” inspired image.

Children to be given a selection of images that involve the “danse macabre” children to then plan a simplified image that they can then use as a print.

Term: Y7 Autumn 2 Theme: HEALTH - Animation of a Food ChainContent ARE objectives. Activities Useful ResourcesWk 2.1 – Simple Animation

Generating Ideas spontaneously create imaginative responses and representations of the real world, remaining flexible to adapt and change artistic elements to express a specific meaning or idea;

Begin by explaining the theory of ‘The Persistence of Vision’ (when our eyes see images in quick succession, they see one moving image and our brain fills in the gaps). Show an example of a zoetrope or flip animation. Students to prepare and make a flip animation and/or a zoetrope – brainstorm ideas for simple animations, e.g. a face which smiles, a rabbit face where the ears move, a stick figure which moves their arms upwards or perhaps falls over, a bottle which overflows, and so on - LA students might draw a face and make the eyes blink or make the smile get bigger and bigger.Each student will need ten post-its (or pieces of paper cut to the same size and fastened together). Initially, all students should attempt a simple flip animation with a suggested image of a mouth opening and closing, linking to the theme of survival. Students should draw their first drawing on the bottom post-it. The next image should be drawn on the next page up from the bottom, so that the previous image can be traced over, changing just one small detail. When the ten images are complete, the pages can be flipped to view the ‘moving’ changes.When the students are confident using the flip animation technique, they can try positioning the images on a zoetrope. Ask the students to research William George Horner and the early stages of animation development and make notes in their sketch book – they should include examples of their animation work from this lesson.

LA: Recognise and use the technique of flip animation to create a simple

Post-its, or paper cut to the same size and fastened together to use as flip books.

Black card.

Scissors.

Turntable or revolving surface for a zoetrope.

moving piece.MA: Create a flip animation demonstrating clear changes between images.HA: Use a range of animation techniques to create and demonstrate simple image animations, showing clear progression between images.

Wk 2.2 – Animation Project 1 – Planning the Food Chain

Generating Ideas explore a sequence of design steps to develop and improve ideas using thumbnail studies, annotation, multi-views, different compositions, maquette’s or prototypes;

Discuss food chains – think of examples of these. MA/HA may wish to consider three creatures (i.e. producer/predator/prey) – LA may wish to work with two creatures. In sketch books, draw the food chain, using simple animals – these will form the basis for clay animals to use in an animation project, so should not be too complex or difficult to reproduce. Stylised character animals are acceptable, e.g. just a head with no body, large eyes etc. – realism is not a prerequisite, but something that is simple to reproduce is.Introduce stop motion animation – ask students to develop their food chain sketches by considering the actions each creature would demonstrate, and sketching or annotating these in their book.

LA: Identify a simple food chain and reproduce by sketching. MA: Identify a food chain and reproduce by sketching, with progression planned to show the food chain in action.HA: Identify a food chain which includes producers, predators and prey, and reproduce by sketching, with clear progression planned to demonstrate the food chain in action.

Wk 2.3 – Animation Project 2 – Making the Animals

Making work spontaneously with drawing, painting and modelling materials experimenting with line, shape, tone, colour, texture, form and space;

Students should use their sketches from the previous lesson to start creating their animals, ready to animate in subsequent lessons. Paper cut outs or oil-based modelling clay is recommended – air-drying clay or similar mediums which will set will not be suitable, as it cannot be repositioned to animate the creatures.Brainstorm ideas for which animal parts might be animated, e.g. mouth, arms, legs, eyes – remind students that minimalistic changes should be made to aid consistent reproduction. Creatures could also move across a stage or set, without any remodelling being required. Ensure animal pieces are preserved for use in later lessons.

LA: Create a simple model based on planned sketches.MA: Create a series of models based on sketches, with an understanding of how the model will be animated/articulated.

Modelling paper or oil-based modelling clay.

HA: Create a series of models to be animated/articulated, some of which should include moving parts.

Wk 2.4 - Animation Project 3 – Producing Images

Making work responsibly with an awareness of personal safety and thoughtful respect when using materials, tools and equipment and moving around the studios;

Making knowledgeably develop their own practical skills through investigation and experimentation using a range of materials and techniques with increasing control and purpose;

Demonstrate examples of stop motion animation by showing relevant video clips. Good examples to lead with include works by Tim Burton: ask students to consider which was developed first – stop motion animation or zoetropes? Why might they think that? Consider examples of other stop motion animations, e.g. works by Aardman Animations, Ray Harryhausen etc.Students should practice animation , using one object, such as a toy car or ball of clay, moving from one side of the screen to the other. They should familiarise themselves with the technique of taking a photograph then moving the model incrementally before photographing again – key factors to consider include small changes between shots, keeping the camera in the same place and ensuring no other changes between shots except the planned movement.Students should use a stop motion app or software application to create a short practice video, using just a ball of clay or a toy car, etc. Restrict to one item to ensure it’s kept simple and pupils aren’t distracted by materials. (Around 20-40 frames, depending on ability).NOTE: There are a range of free apps available for the iPad which may be used, or limited free software applications for Windows PCs or laptops – the teacher should ensure a suitable piece of software has been installed prior to the lesson commencing.

LA: Create a series of images showing some movement of the model.MA: Create a series of images, showing clear smooth movement of the model between each photograph.HA: Create a series of images showing model movement, and develop into a single sequence video.

Modelling paper or oil-based modelling clay.

iPads or cameras, for recording animation.

Tripod or stand for recording device.

Stop motion animation apps.

Wk 2.5 – Animation Project 4 - Setting the Scene

Generating Ideas gather and assemble suitable information and visual resources to inform their designing for a purpose;

Students should plan their animation sequence – a storyboard detailing the changes to be made between each shot is a useful way to do this. Students should be reminded of the animation objective, i.e. to demonstrate a food chain in action.Students should then work to create an appropriate set/stage to set the scene for their animation – this can be done simply with a piece of card stood up as a backdrop, or something like a cereal box with the front and top removed. It can be dressed as the student desires, but they should be able to justify their design choices.

Modelling paper or oil-based modelling clay.

iPads or cameras, for recording animation.

Tripod or stand for recording device.

Stop motion animation apps.Storyboard template

LA: Plan a series of actions to create an animated sequence.MA: Plan an animated sequence, considering additional aspects such as setting.HA: Plan an animated sequence demonstrating clear progression and consider external factors which may affect the animation.

Wk 2.6 – Animation Project 5 – Filming and Evaluation

Generating Ideas use a camera, varied drawing approaches, collage and digital media to record from life and secondary sources to inform and develop imaginative ideas for their work;

Evaluating provide honest assessment and purposeful feedback to their peers describing strengths and possible next steps;

Students should film their animation, taking care to ensure the skills they developed during Wk 2.3 are practiced. Reminders if needed – small changes only between shots, only the model(s) to be animated for that scene get moved, the camera MUST stay in the same position. Students should also ensure that the models are easily accessible, so the camera position or consistency of scene is not disturbed.Once photographed, the images should be processed into a single animated sequence. Students should share their films, providing opportunities for self- or peer-assessment.

LA: Produce a sequence of images demonstrating model movement and/or repositioning.MA: Combine a sequence of images into a single sequence video animation.HA: Work independently and confidently to create a short animated film meeting a given objective, using a range of filming techniques.

Modelling paper or oil-based modelling clay.

iPads or cameras, for recording animation.

Tripod or stand for recording device.

Stop motion animation apps.

Term: Y7 Spring 1 Theme: POWER - Gothic Dystopia, Tim BurtonContent ARE objectives. Activities Useful ResourcesWk 2.1 - Character design.

Generating Ideas: Work purposefully in response to a visual or tactile stimulus incorporating ideas from their study of artists, designers and the products of other cultures.

Students to examine a selection of characters – suggested artist is Tim Burton. Students could cut out characters and stick in sketch books, or draw their own – add brief annotation on techniques used or distinctive features/style (e.g. line drawing, dark colours, monochrome, makes me feel scared, etc.)Students to create a character in the style of Tim Burton - could explore different materials such as watercolour paints/felt tip and water/coloured pencil/ plain felt tip, biro or pen drawing, plain pencil drawing or charcoal. Techniques used to create own images could be

Drawing pencils of different shades, e.g. 3H, HB, 2B, 4B.

Black biro/black handwriting pen.

Felt-tip pens.

Coloured pencils/watercolour pencils.

drawing with felt tip pen then brush water over it to make it bleed; black biro creates a nice outline after water painting. Emphasise that a character can be made up from almost anything, then they can visualise that character and might even think about the pros and cons of being ‘Orange Boy’ or ‘Super Koala’ (a short rhyme/tag line could be an extension activity) – brainstorm quirky character names (e.g. Orange Boy, Super Koala, Rain Child etc.) as a starting point.Possible literacy link – ask students to create a list of adjectives, then a list of nouns – pair up a random word from each list to create a character name.

LA – group brainstorm for character ideas, i.e. name/appearance etc. Cut and stick one or more characters from given stimulus. Annotate re. characteristics/style.MA – create own character, using media of choice or as directed by the teacher. Annotate re. characteristics/style.HA – divide page into four and design four characters – could be similar characters using a theme/style, or four distinct characters. Annotate re. characteristics/style, giving some reasons for choices.

Charcoal.

Images of Tim Burton characters

Book: ‘The Melancholy Sadness of Oyster Boy’ by Tim Burton

Book: ‘Nightmare Before Christmas: The Film, The Art, The Vision’ by Tim Burton

Wk 2.2 - Sculpture exploration.

Generating Ideas: Complete design studies for 2D, 3D and craft outcomes, including research, observed studies, and visualisations.

Students to explore sculpting techniques, using a range of materials/methods. These should be small examples so as not to waste materials, but an opportunity to explore and to then know which method they prefer to use in their final design. Points to consider: if their character has long thin legs, they should think about how to create this in a 3D material (suggested method: create the character as if they are sitting on the shelf - the legs then hang from the shelf and do not need support. Another method is to place a piece of wire or wood inside the model to support). Remember to take photos for adding to sketch books.

Suggested method: set up separate workstations that pupils can rotate round.

Possible stations:1. Coil pot using clay (see Res 1) – students to make a small clay

disk for a pot base, then roll a small piece of clay into a long,

Clay – air/quick-drying clay is useful.

Modroc (or Plaster of Paris bandage rolls).

Balloons.

Newspaper or scrap paper.

PVA glue.

Small pieces or wire or wooden dowling (lollipop sticks/matchsticks may also work).

Res 1: ‘Coil Pot’ (8:55)https://www.youtube.com/watch?v=SA-rGYh2UH0

Res 2: ‘How To Make A Pinch Pot’ (3:42)

thin strip and coil upon the base. Use fingers to shape/hold sides in place.

2. Thumb pot using clay (see Res 2) – students to have a small ball of clay, which they then press their thumb into to form a pot shape. Students to use fingers to hollow out/shape pot.

3. Modroc ball (see Res 3) – use a small, inflated balloon as a base, or a small, screwed-up ball of paper. Cover with Modroc; an alternative to Modroc might be newspaper torn into strips, coated in a mixture of PVA glue and water, then used to cover the base shape (papier-mache technique). Students to make three or four small ball shapes, to find the way they prefer to make a spherical shape. Students could also use small balls of clay to shape spheres.

LA – create one or two different types of clay sculpture.MA – create an example piece using each different material.HA – create an example piece using each different material, adding embellishment to a piece of choice (e.g. a pattern to a clay pot, or a different shape in Modroc using wire/wood to make a simple frame).

https://www.youtube.com/watch?v=bELgM8aSqLc

Res 3: ‘Technique Focus Mod Roc - Making A Figure’ (4:34)https://www.youtube.com/watch?v=O_f-2Qm-aSQ

Wk 2.3 - Textiles samplers.

Generating Ideas: Complete design studies for 2D, 3D and craft outcomes, including research, observed studies, and visualisations.

Students to create a range of samples on fabric pieces (15x15cm is more than sufficient).

Suggested method: set up separate workstations that pupils can rotate round.

Possible workstations:1. Tie-dye/dip-dye techniques (see Res 1/2) – knot beads or

marbles into the fabric using string, or scrunch and tightly tie the fabric. Either dip or submerge in dye, then leave to dry (following instructions on fabric dye packet if using). Next lesson, students can unwrap the dry finished piece.

2. Batik (see Res 3) – melt the wax and use the tjanting tool to make a pattern on the fabric with the melted wax. Leave to set, then remove any excess wax; dip the fabric in the dye (following instructions on fabric dye packet if using), then leave to dry.

3. Fabric crayons/paints/pens (see Res 4) – decorate fabric piece,

Small pieces of fabric (scraps or leftover materials would be fine for most methods)

Tie-dye/Dip-dye - marbles or beads/string or elastic/rubber bands/fabric dye or food colouring.

Batik – wax/wax melting pot/tjanting tool/fabric dye or food colouring.

Fabric crayons/fabric paints/fabric pens.

Applique – small scraps of contrasting fabric/shape templates/sewing thread and needles or sewing machine.

Stitching embellishment – sewing thread and needles or sewing machine/buttons or similar

following instructions for use of materials selected.4. Applique (see Res 5/6) – cut out contrasting fabric shapes, using

shaped templates if desired, and place shapes on base fabric (these can be attached with a little glue if needed for LA students). Stitch around the edges of the shapes using needle and thread, or a sewing machine if desired. Contrasting colours of threads and a range of stitches can be used for effect.

5. Embellishments (see Res 5/6/7) – students can use the piece from workstation 4, or use a new piece of fabric. Create a pattern or image on the fabric, using different stitches or accessories to embellish (e.g. googly eyes, interesting buttons etc.) – suggested stitches for use might be running stitch, back stitch, chain stitch and/or blanket stitch.

LA – use at least two different techniques to create fabric samplers, with assistance where required, i.e. glue to hold shapes in place when using applique, working in pairs to shape fabric for dying etc.MA – use at least three different techniques to create fabric samplers, exploring at least two kinds of stitching technique.HA - use at least three different techniques to create fabric samplers. Explore how techniques can be adapted, focusing on a technique of choice, e.g. if the student prefers fabric dying, they could consider how to make different patterns or effects using beads or other items, folded fabric, knotted fabric etc., several different types of stitching could be used etc.

(googly eyes etc)/glue gun.

Res 1: ‘4 Ways to Tie Dye - Bullseye, Swirl, Stripe and Ombre’ (9:12)https://www.youtube.com/watch?v=I7rLQJxczL0

Res 2: ‘How To Dip Dye’ (2:39)https://www.youtube.com/watch?v=o7hvGRGbJww

Res 3: ‘Spectacular Wax Batik Art DIY at home’ (2:39)https://www.youtube.com/watch?v=xJzJXSvT1tw

Res 4: ‘DIY easy fabric painting ideas for beginners’ (7:32)https://www.youtube.com/watch?v=IIKWXOU3-4c

Res 5: ‘Blanket Applique’ (8:16)https://www.youtube.com/watch?v=aI_OvK8vFq8

Res 6: ‘Hand-Sewing | Basic Stitches and Techniques’ (5:05)https://www.youtube.com/watch?v=1FknfumFPX8

Res 7: ‘Hand sewing 2 Sewing on a button’ (4:57)https://www.youtube.com/watch?v=MjmUaWkzF-I

Wk 2.4 Evaluating: use their previous experience and judgement to identify strengths in the work evaluated and those aspects where things can be improved.

Students to review and evaluate work from Wks 1-3 (place in sketch books/folders etc.) – self-assess work on what went well (successful/confident techniques) and what could be improved (focus on less confident techniques or those which didn’t work as well for that student). Peer-assess using given success criteria (as decided by teacher) – focus on sharing helpful advice/techniques gained from personal experiences.Set task to plan/create own sculpture based on a character of student choice. Create a draft sketch/plan for own sculpture – draw outline sketch, and annotate to explain distinctive features. Also annotate with

planned materials – emphasise that this is for planning purposes only, and that designs can evolve and develop as they are created physically, so students do not feel they are restricted in the creative process as they start to sculpt next week. Remind students to link plans to self/peer assessment ideas.

LA – create a draft sketch/plan based on given stimuli (e.g. Tim Burton images or similar, could link to other areas of curriculum). Annotate with planned materials.MA – create a draft sketch/plan based on own interpretation of given stimuli (possible link to other areas of curriculum, group brainstorm for ideas if needed). Annotate with planned materials and more specific details for practical creation next lesson (i.e. ‘Arms will be same length, approx. 4cm’, ‘Arms will be different lengths, one will be 2cm and one will be 4cm’, Head will be three times the size of the body’ or similar).HA - create a draft sketch/plan based on own interpretation of given stimuli (possible link to other areas of curriculum, group brainstorm for ideas if needed). Annotate with planned materials and more specific details for practical creation next lesson, anticipating possible obstacles and how they will be overcome (i.e. ‘Arms will be same length, approx. 4cm, will need wire to strengthen’, ‘Arms will be different lengths, one will be 2cm (using matchsticks) and one will be 4cm (matchsticks too short – need more than one or some wire)’, Head will be three times the size of the body, so will need something to support it’ or similar).

Wk 2.5/2.6 Knowledge: How to apply their experience of drawing, painting, printing, tactile and constructed processes/techniques, selecting suitable tools to enable them to design and make art works.

Evaluating: Use their

Students should begin to make their character using clay or textiles, with two weeks to complete the sculpture. A design should be finalised first, annotating materials and methods (should have been completed the previous lesson).

If textiles are to be explored then an assortment of stitches should be demonstrated, as well several other techniques. If clay is to be explored, the thumb pot or coil method make excellent round character shapes and students should demonstrate appropriate use of slip (water applied to clay with hands or tools to join pieces of clay or create a smoothed finish).

Resources as decided from finalised designs last lesson.

Refer to resource video links above as a reminder if needed.

previous experience and judgement to identify strengths in the work evaluated and those aspects where things can be improved.

Wk 2.6 – evaluate finished piece. Compare final sculpture to final design – possible questions to ask might be:Did the design/materials change in the making process?How did it change?Why did it change?What worked? (Techniques/materials – give reasons)What could be improved? How could it be improved?

Term: Y7 Spring 2 Theme: NATURE – William Morris, Repeat patternsContent ARE Objectives Activities Useful resources

William Morris. Repeat pattern/ printmaking.2.1

Generating Ideas spontaneously create imaginative responses and representations of the real world, remaining flexible to adapt and change artistic elements to express a specific meaning or idea;

Observational drawing. Students should be presented with natural and man- made objects and should choose one to draw from life. Time allowing, some students may draw a second object. Objects do not need blended shading, the coming project will require line drawings, but hatching could form part of the design and this could be demonstrated to the class as a form of shading. LA: Will attempt to draw an objectMA: Will draw something which accurately represents the objectHA: Will accurately represent the object and use hatching to give it form.

Natural and man- made objects to draw, ie leaves, plants, flowers, insects, spanners, bike parts, plugs, (this is an opportunity to personalise by using objects to match student’s interests such as lego pieces, hair clips, bows etc.

2.2 Generating Ideas control their selection and interpretations of elements from the study of artists, designers, architects and other cultures to creatively inform their individual designs and planning for a proposed outcome.

Students should collect three images of designs by William Morris, stick these in sketchbooks and annotate. Make a list of 3- 6 characteristics which describe his work. Ie, limited colour palette, detailed, intricate, flowing, natural objects such as plants, flowers and sometimes animals. Graphic design, features no shading, is printed in blocks of flat colour, uses a little hatching to show some form/ shading. Repeat patterns or symmetry are always a key feature.This list of characteristics should be revisited regularly as a reminder of what students should consider in their own design.

LA: Will write at least two characteristics in books, with support.MA: Will be able to suggest a characteristic and will write a few in book.HA: Will independently identify several characteristics and write several in book.

Internet access or pre- printed images of William Morris’ work. Pens/ pencils. Paper/ sketchbook.Coloured pencils.

If there is time left in the lesson, students could attempt to extend one of the images they have stuck in their book onto the page.

2.3 Generating Ideas complete design studies for 2D, 3D and craft outcomes, including research, observed studies, and visualisations;Generating Ideas explore a sequence of design steps to develop and improve ideas using thumbnail studies, annotation, multi-views, different compositions, maquette’s or prototypes;

Students should begin designing their repeat pattern. Trace the sketch (from week one) and explore using this in a repeat pattern. Demonstrate to students that the tile could be diagonal, flipped, reversed, fanned or overlapped. Higher level students might explore without a demonstration. By the end of this lesson students should have explored repeat patterns and should finalise a tile design, ready to cut out of lino, which will be printed to create the final repeat pattern.Students might talk about examples of the use of tiles/ repeat patterns, ie wallpaper, textiles, computer games, floors/ buildings etc.

LA: Will repeat their tile to form a repeat patternMA: Will explore creative ways to form the repeat patternHA: Will explore creative ways to form their repeat pattern and will add more detail to fill any space.

Tracing paper, pencils, sketches from last week.

2.4 Making work responsibly with an awareness of personal safety and thoughtful respect when using materials, tools and equipment and moving around the studios;

Offer the students transparent lino blocks to place the lino over the design and carve it. Remember that the tile will print in reverse (best not to include any text).

Students should carve the lino block, using appropriate tools.

If lino cutting tools are not considered safe, then students could use safeprint tiles (polystyrene tiles) and carve them using pencils/ biro.

Higher level students might prepare two tiles, to print (for example, the background in one colour and the object in another colour).

LA: Will begin carving a tile, with supportMA: Will begin carving a tile independently, after a demonstration.HA: Will carve a tile, creating different line quality and intricate detail.

Transparent lino blocksLino cutting toolsBench hooks

May need safeprint tiles if lino cutting is too much of a risk.

2.5 Making work safely and as part of a Finish carving the lino block/ all students to catch up to the point where Same as previous week.

team, with an understanding of process and the actions required to successfully follow each technique to improve and produce good quality outcomes;

Making work responsibly with an awareness of personal safety and thoughtful respect when using materials, tools and equipment and moving around the studios

they have lino blocks carved and ready to print.

Students who are already at this point may revisit the list of William Morris qualities and assess what they can add to improve it, ie, is it an intricate design? Can they add more detail to fill every bit of the tile? They could carve a second tile to print in another colour, (choose a feature that will print in another colour and carve out the entire tile apart from that feature, so that it only prints that feature).

LA: Will complete the carving of a lino block, with some resemblance to the deignMA: Will complete the carving of the block, which will be the same as the design and add some additional features to improve itHA: Will complete the carving of the lino block, using different lino cutting tools to vary line quality, matching the original design and adding more detail after revisiting the list of William Morris characteristics.

2.6 Making carefully explore the characteristics of each of the artistic elements with control to express personal intentions when making painted, printed, constructed and virtual artworks;

Print the tile to create the repeat pattern.Teacher to demonstrate inking up and printing. LA: Will print a tile to make a repeat pattern, with support.MA: Will print a tile to make a repeat pattern, neatly, lining up each tile.HA: Will independently print a repeat pattern, neatly, with control, and might use more than one colour.

Carved tiles from previous weekBlock printing inkTray for rolling out ink, or stick down some plastic wallets on the table to roll out ink onRollerspaper

2.7 Evaluating use their previous experience and judgement to identify strengths in the work evaluated and those aspects where things can be improved;

Evaluation. Using the list of qualities which the students listed as attributes to William Morris, students should evaluate their own, or peers’ work.

Term: Y7 Summer 1 Theme: YORKSHIRE – Architecture, GaudiContent ARE Objectives Activities Useful resources

Architecture: Comparing the architecture

gather and assemble suitable information and visual resources to inform their designing for a purpose;

Wk 1 Students should use a computer to find two images of the homes miners lived in in Northern England at the time of A Kestrel for a Knave. Print and stick in sketchbook. Students should then find two images of architecture by Antoni Gaudi. Print

Computers/ laptopsGlue sticksSketchbooks or paper which will be strung together to make

of the miners’ homes in Northern England to the nature inspired creations of Antoni Gaudi.

and stick in sketchbook. Discuss, compare and consider possible reasons for the differences. Some students might annotate images in sketchbooks.

Finish the lesson with the teacher providing information (reading to students/ handing out books or printed information) about homes for miners and about nature inspired Gaudi architecture. Higher level students might undertake their own research, with key points/ questions to look at.Key questions to address might be:Why and where were the miner’s homes built? (What was their purpose?)Why weren’t they as decorated as Gaudi’s architecture?Why is Gaudi’s work made up of curved shapes?What was the purpose of Gaudi’s work?

LA: Will choose two images of miners’ homes and two images of Gaudi architecture, stick in sketchbook and show some understanding of how they are different and why.MA: Will demonstrate the above, and add annotations in sketchbook.HA: Will demonstrate the above, and will research the facts about Gaudi and about Northern England’s homes for miners, adding findings to their sketchbook.

sketch booksPencils

Information about Miners’ homes in Northern England and information about Gaudi’s architecture, printed or on a computer.

Images printed of both architectural types.

-complete design studies for 2D, 3D and craft outcomes, including research, observed studies, and visualisations;-carefully use a basic range of fine and broad drawing materials and techniques to record with some accuracy of line, shape, tone, colour, scale and proportion from observation and imagination;- work spontaneously with drawing, painting and modelling materials experimenting with line, shape, tone, colour, texture, form and space;

Wk 2 Observational drawing. Present the students with natural objects, such as leaves, shells, plants/ flowers, bones, skeletons, insects, etc, to draw from life. Students should attempt to demonstrate the key elements: line, form, texture, etc.Note that natural objects usually have curves as opposed to straight lines, this was a key trait in Gaudi’s work.

LA: Will produce a drawing that resembles the observed object, with support.MA: Will produce a drawing that clearly demonstrates some skill in one of the areas of either line quality, tone (shading), texture, or form, with some guidance.HA: Will demonstrate some ability in line, tone and texture, and will work without support.

Natural objects to draw ie shells, plants, leaves, insects. Feathers.Drawing paper, drawing pencils, rubbers, sharpeners.

Varied textures, ie tissue paper,

An optional activity for more reluctant learners is to make a nature inspired mood board. Consider texture, colour and shapes. Leaves and flowers could be stuck on, fabrics, wallpapers, images from magazines, doodle patterns, identify a colour scheme etc.

foil, dead leaves/ flowers, corregated card, fabrics.Patterned wallpapers, (especially floral), magasines, newspapers.Coloured pens, pencils, collage materials such as string, paint or clay, feathers, pipe cleaners.

Making: knowledgeably develop their own practical skills through investigation and experimentation using a range of materials and techniques with increasing control and purpose;Making: carefully explore the characteristics of each of the artistic elements with control to express personal intentions when making painted, printed, constructed and virtual artworks;

Explore a technique in preparation for the main project.Students should explore mosaic and/ or clay.

Students to be handed a sample of the materials to explore, ie clay, slip, brush, modelling tools, rolling pin, mosaic tiles/ broken crockery/ ceramic pieces. The teacher could demonstrate how to make a thumb pot and add some decorative mosaic to part of it as a trial. Divide the exploration into two stages, make a clay structure, then give students the mosaic pieces to add.

Other possible projects may include clay slab construction or foam board construction of a building (consider the size of project to the ability of the group. A basic curvy clay sculpture with mosaic is probably easiest, whereas the design and construction of a building is significantly more complex, but could be more appropriate to Y9).

Mosaic: squares of coloured paper and glue or ceramic mosaic tiles and filler etc, or broken crockery/ tiles/ ceramic pieces.

Ceramic tiles: Clay (Preferably white), rolling pins and rolling guides, clay boards, water/ slip, clay tools.

Foam board construction: foam board, cutting knife/ scalpel, glue/ glue gun, scissors, paper, cardboard.

-work purposefully in response to a visual or tactile stimulus incorporating ideas from their study of artists, designers and the products of other cultures.

Wk 4 Design an architectural piece, inspired by Gaudi- a clay structure with mosaic decoration, as would fit in to Parc Gaudi.Begin by making a checklist of Gaudi’s artistic characteristics, by looking back at week one. This checklist can then be used to evaluate the project afterwards.Ie, nature inspired, natural shapes, no straight lines or right angles, quite colourful, curvy, tiles/ ceramics, etc

The design should be drawn in pencil, then the materials and key features/ techniques labelled.

Sketchbooks/ paper to write a list in. Pens/ pencils etc.

Drawing paper, drawing pencils, rubbers, sharpeners.Coloured pencils.

LA: Will design a basic sculpture, with little apparent influence from Gaudi. Will list 2 characteristics of Gaudi’s work.MA: Will show some influence from Gaudi in their organic design and list more than 2 characteristics of Gaudi’s work.HA: Will design an organic sculpture, which clearly matches their substantial checklist of Gaudi qualities and shows some artistic skill.

Images of Gaudi’s architecture.

knowledgeably develop their own practical skills through investigation and experimentation using a range of materials and techniques with increasing control and purpose;

Wk 5 Use the design from previous week to begin making the sculpture. Aim to have the clay form complete and decide whether to keep the clay wet to add mosaic, or to let it dry, drawing ideas from the exploratory session. LA: Will produce a clay form with support.MA: Will produce an organic clay form.HA: Will produce an organic clay form that matches their design, unless they decide on a change and give a reason for the change.

Previous week’s work for reference.Clay, clay tools, boards, brushes, mosaic tiles.

how to apply their experience of drawing, painting, printing, tactile and constructed processes/techniques, selecting suitable tools to enable them to design and make art works;

Wk6 Finish the sculpture. Add mosaic to the clay form.

LA: Will add mosaic to a clay formMA: Will add mosaic to a clay form, mosaic tiles placed neatly in an arrangement and not covered by any clay.HA: Will add mosaic to an organic clay form, showing some skill acquired from the previous exploration task.

Previous week’s work for reference.Clay, clay tools, boards, brushes, mosaic tiles.

provide honest assessment and purposeful feedback to their peers describing strengths and possible next steps;

Wk 7 Evaluation. Use the checklist to tick/ give marks out of 5, for each objective. Self evaluation or peer evaluation.A group peer evaluation could be a discussion whereby students revise their checklist and praise peers by saying ‘Ben created a piece which is very curvy’ etc. Students could write comments on speech bubbles that can be photocopied to put in own and peer’s sketch book.LA: Will politely comment on someone’s artworkMA: Will politely comment , with reference to a characteristic from the checklistHA: Will politely offer a constructive criticism and a positive comment, with reference to Gaudi’s characteristics/ the objectives.

Checklists previously made by students.Speech bubbles drawn and cut out ready for students to write in.Pencils and rubbers.

Term: Y7 Summer 2 Theme: WAR - Propaganda – Henri Matisse and FauvismContent ARE objectives. Activities Useful ResourcesWk 1.1 – Introduce the theme of propaganda – show examples of wartime

Introduction to Propaganda

propaganda posters. Discuss – what was the purpose? Who was the intended audience? Why might that style have been used at that time?Give students an example of a propaganda poster to stick in their sketch books – students should annotate with any interesting features. Points to note might be use of colour/artistic style (limited by wartime resources, cheap and easy to reproduce), language used (appealing to selfless natures), features in common (aimed at specific audiences), purpose (to promote a specific cause and persuade people to follow it) or stereotypes promoted/perpetuated.Discussion: what else might be promoted by this kind of poster? Class to discuss modern examples or situations where propaganda may be used, i.e. politics, religion, advertising. Teacher to find examples discussed by class as the discussion is ongoing, to ensure clear understanding.

LA: Know what propaganda is.MA: Recognise examples of propaganda, and give reasons why those examples can be identified as such.HA: Recognise examples of propaganda in a modern context, linking and comparing with how wartime propaganda was used.

Wk 1.2 – Propaganda or Promotion?

Building on the work last lesson, students should identify a cause that they feel strongly about and design a propaganda poster to promote it. The draft poster should be completed in sketch books, and should be annotated to identify design choices, giving reasons for these where possible. Students should plan for artistic style, including media and techniques to be used (may use pencils, paints, felt-tip pens, chalk, pencil shading etc. – this will help identify prior learning). Drafts should also be prepared for poster text, which can be handwritten/drawn, typed, stencilled etc.When the draft has been completed, students should refer back to their work from last lesson – does their poster include some of the stylistic/identifying features they noted down? Which features, and why?NOTE: Remind students that although they are promoting a cause important to them, that they should avoid being factually incorrect in their information – offer research/fact-checking opportunities as part of the lesson if needed.

LA: Design a draft poster using at least one feature linked to propaganda posters.MA: Design a draft poster using three or more features linked to propaganda posters, and be able to identify the features used.HA: Design a draft propaganda poster to effectively promote a cause, including accurate information to persuade the intended audience.

Wk 1.3 – Producing the Poster

Students should use media of their choice to produce a final version of their planned propaganda poster – remind students that if they alter anything from their original design, they should note it in their sketch books, along with the reason why. Teacher should be aware of the materials required after the planning lesson – ensure students have access to the necessary materials.When the posters have been completed, share examples with the class – can they be persuaded to support the promoted cause? Why do they feel like this? Discuss.

LA: Produce a propaganda poster to promote a specific cause.MA: Use a range of stylistic techniques to produce a propaganda poster targeted at a specific audience.HA: Successfully persuade an audience to consider or support a specific cause through effective use of propaganda techniques.

Wk 1.4 – Henri Matisse and Fauvism

Introduce Henri Matisse as an artist, and Fauvism as an art movement. Show examples of Matisse’s work – Res.1 may be helpful. Discuss the use of bold shapes and colours to stylistically represent images – consider the ‘Blue Nudes’ series of images by Matisse (Res.1, slide 4). What is the image depicting? What does the colour suggest? Is the shape of the figure linked to this in any way? How does it compare to a ‘real’ figure? Students should attempt to interpret mood/tone based on what they see supported by their own experiences. Ask students to draw ‘Blue Nude II’ in their sketch books and annotate their interpretive ideas around it.Ask students to consider Matisse’s ‘The Snail’ (Res.1, slide 7). Do not reveal the title of the painting at first – can students spot the stylistic representation? Explore Matisse’s ‘painting with scissors’ technique (this may also be referred to as ‘drawing with scissors’ – Res.1, slides 8-10 – subsequent

Res.1 – Matissecutout.pptx (in Resources folder, Cycle 1, HT1)

slides may also be useful). Discuss how everyday objects might be represented, i.e. ‘The Snail’.Students should sketch a possible image to be represented using the ‘painting with scissors’ technique; remind them that images should be simple and do not have to be an accurate image – refer to Matisse’s ‘The Fall of Icarus’ for inspiration. Students may choose colours to be used, or teacher can decide, possibly limiting or expanding depending on ability. They should be able to explain their choices about subject and colour, either verbally or through annotation on the image in their sketch books.

LA: Know who Henri Matisse was and understand the term ‘Fauvism’.MA: Understand and explain what the term ‘painting/drawing with scissors’ means.HA: Suggest possible stylistic or pictorial representations for a range of objects, and explain how they are linked to the painting/drawing with scissors’ technique.

Wk 1.5 – Art in the style of Matisse

Recap the ‘painting with scissors’ technique and stylistic representation. Show how cutout images can be developed by layering (examples on Res.1, slides 13 and 18, or examples of teacher choice). Use Res.1, slides 14 and 15, to practice simplifying an image.Give students a selection of coloured paper and ask them to create an image using the ‘painting with scissors’ technique. LA might create a single-layered image with a single focus, MA/HA might create a multi-layered image with more than one focal point or point of interest. Sketches from last lesson can be used, or adapted as needed following the simplification task.

LA: Create a simple piece of work in the style of Matisse, using the ‘painting/drawing with scissors’ technique.MA: Create a more complex piece of work in the style of Matisse, using some layering in the ‘painting/drawing with scissors’ technique.HA: Create a piece of work in the style of Matisse which uses layers and has more than one point of interest, using the ‘painting/drawing with scissors’ technique.

Res.1 – Matissecutout.pptx (in Resources folder, Cycle 1, HT1)

Wk 1.6 – Comparison

Students should evaluate their work this term. Compare the two final pieces (the propaganda poster and the ‘painting/drawing with scissors’

and Evaluation piece) – which was preferable to work with? Why? Students should be able to use technical terms such as mood, tone, purpose, audience, realist/realism, representation, symbolic representation, technique etc. and refer to the media and techniques they used in their own work.

LA: Compare two pieces of work, identifying the different techniques used.MA: Recognise the differences between two pieces of work, including references to the media used to create them.HA: Explain the advantages and disadvantages of style, form and media when comparing two pieces of work, and express a preference, giving reasons for the choice.

Year 8Term: Y8 Autumn 1 Theme: WAR – Cause and Effect, Gieger and BanksyContent ARE objectives. Activities Useful ResourcesWk 3.1 – HR Giger

Introduce HR Giger. Ask students to complete a piece of research to compile a biography – they should be able to make lots of links to popular culture in the twentieth century. Giger was anti-war, yet produced lots of war-like images – why was this?Students to find an image of Giger’s work and stick it in their sketch books. They should annotate the image to reflect aspects of what they have discovered about Giger, and their own interpretation of the work.

LA: Know who HR Giger was.MA: Identify one or two examples of HR Giger’s work.HA: Recognise key features of HR Giger’s work and make links between several pieces.

Wk 3.2 – Work in the style of Giger

Students should create a piece of work in the style of HR Giger. Use old, salvaged machine parts and ask the students to arrange a selection of pieces on a suitable base (a tile or piece of stiff cardboard). Once they are satisfied with the arrangement, they should glue the pieces in place. Consideration should be given to depth – the piece should be three-dimensional, but height can be added for effect. The arrangement can be representational or symbolic, but students should be able to write about the meaning in their sketch book.Once the piece has been fixed and set, students should spray the whole piece using metallic spray paint. They can use one colour, or a mixture, drawing inspiration from Giger’s combination of human and machine.

NOTE: An old computer or machine which can be stripped for the parts by students makes an excellent resource, and offers extra opportunities to make considered design choices. A small tool kit with a selection of screwdrivers may be needed for this.

LA: Create a simple piece of art in the style of HR Giger.MA: Create a piece of art in the style of HR Giger, and state how it is similar.HA: Working independently, create a more complex piece of art in the

Selection of broken or salvaged machine parts.

A tile or square of very stiff cardboard for each student.

Glue guns.

Metallic spray paint.

style of HR Giger and clearly explain how Giger has influenced the piece.Wk 3.3 – Preparing a pattern

Having considered futuristic conflicts and contrasts, the topic can now move to the recording of the past – introduce students to the Bayeux Tapestry, and examine the reasons for its creation. For this part of the topic, students will create a stitched piece in the style of the Bayeux Tapestry.Give each student a piece of paper – ask them to produce a simple image related to the theme of war. It does not need to be coloured at this point.Give students a piece of squared paper – they should lay it over their war image and trace the image onto the squared paper, making sure the image becomes ‘pixellated’ as they do so – teacher to demonstrate the technique of creating a pattern for sewing. Once the image has been transferred to the squared paper, students may colour it in – limit the range and complexity of the colours. LA students may benefit from designing their pattern straight onto squared paper.By the end of the lesson, students should have a completed sewing pattern, resembling a counted cross stitch grid pattern.

LA: Create a simple pattern on a counted grid.MA: Accurately transfer an image into a counted grid pattern.HA: Transfer an image into a counted grid pattern, incorporating a reasonable amount of finer detail.

Plain paper.

Squared paper.

Colouring pencils.

Wk 3.4 – Stitching a Sampler

Teacher to model a range of stitches which might be used for the sewing project – a visualiser would be helpful, or video clips. Suggested stitches might be cross stitch, half cross stitch, long stitch, running stitch and back stitch (or any other stitches of teacher choice). Students should practice the stitches on a small fabric swatch – keep this as a sampler.The teacher should decide if regular fabric pieces will be used, or Aida fabric, and whether the sewing medium will be wool or yarn, or embroidery silks (depending on the selected fabric – if 12/14-count Aida is used, embroidery silks are recommended, for lower than 10-count, wool can be used, and for fabric pieces, it will depend on the weave and thread count). A piece of fabric should be given to each student. Teacher to demonstrate how to centre the fabric and the pattern, then students can

Fabric pieces or Aida pieces to sew on, one for each student.

Wool and/or embroidery silks, in a range of colours.

begin stitching independently. They may need to adapt their sewing as they progress, for example when colour-matching or deciding if/when to introduce new stitches. Embellishments can be added in the final lesson, once all of the stitching has been completed.

NOTE: Ensure that a reasonable seam allowance (approximately 4cm) is left all the way around the piece, to allow room for display mounting at the end of the project.

LA: Use at least one stitch to create a simple stitch sampler.MA: Use a range of stitches to create a simple stitch sampler.HA: Use a range of stitches with control and precision to create a stitch sampler.

Wk 3.5 – Sewing using a Prepared Pattern

Continue sewing. Remind students that a range of stitches is encouraged, but if they have chosen to stick with one, then another can be used for embellishments next lesson.

LA: Use at least one type of stitch to produce a stitched piece of work.MA: Use a range of stitches to produce a piece of stitched work.HA: Use a range of stitches with control and precision to produce a piece of stitched work, adapting the pattern as the work progresses if needed.

Wk 3.6 – Finalising the Stitched Piece

Complete sewing. Teacher to demonstrate adding embellishments, i.e. using a contrasting colour and stitch to emphasise or pick out details, buttons or similar items stitched on for effect, and so on.Once the work has been embellished, students should prepare to display their piece. They could make a cardboard mount and backing, or each piece of work could be stitched to another, to make a long piece similar to the Bayeux Tapestry. If preferred, the pieces could be added to folders/sketch books as a sampler, along with the pattern. The pattern, or a copy of it, should be stuck in the sketch book and annotated to evaluate how the final piece met the brief, and if any design changes were made and why.

LA: Use at least one type of stitch to produce a stitched piece of work, and add an embellishment.MA: Use a range of stitches to produce a piece of stitched work, adding

at least one embellishment to emphasise detail.HA: Use a range of stitches with control and precision to produce a piece of stitched work, adding considered embellishments to accentuate key details of the piece.

Term: Y8 Autumn 2 Theme: PLANTS – Sci-fi. Photography and collage. Content ARE Objectives Activities Useful resources

Students will create a model based on sci fi, then photograph it, and photograph a person and an environment, then put all three together in one collage, either digitally or on paper, to create one image as if they are one photograph. 1 Generating Ideas: explore a sequence

of design steps to develop and improve ideas using thumbnail studies, annotation, multi-views, different compositions, maquette’s or prototypes;

Generate ideas. Students will look at sci fi imagery and share ideas about what is often seen within it, ie aliens, spaceships, etc. The teacher will explain that their project will be a hand built model of a sci fi element, a photograph of a person to place alongside it, and a photographed background to place it within. The class might look at some examples of where people have used scale and perspective to create interesting photos, ie people appearing to be as big as buildings.They will decide on something they would like to make/ model/ build and start to put designs on paper/ into sketchbooks, remembering that the environment is going to be photographed by themselves and therefor needs to be accessible (A machine/ alien/ robot, in a playground, chasing a boy)LA: Will in some way, put more than one idea/ image into their sketchbook.MA: Will put three ideas into sketchbook, including some hand drawn.HA: Will put three to four ideas in sketchbook, mostly hand drawn, with some

Images of sci fi, ie movie posters, illustrations, models.Images (below) of photography and perspective.Paper or sketchbooks.Drawing pencils. Rulers, rubbers, sharpeners.

2 Generating Ideas complete design studies for 2D, 3D and craft outcomes, including research, observed studies, and visualisations;

Students will choose from their previous ideas to make one design, annotated with reasons, and ideas of materials/ processes to use. Ie a robot built from tin foil/ paper mache/ cardboard boxes/mod roc/ choice of materials. LA: Will produce a final design which has a sci fi element within it. MA: Will produce a final design containing a sci fi element, with annotated model building materials/ processes, as well as an environment which we can access to photograph it, and a person.HA: Will complete the above, creating a cohesive scene, identifying potential materials and processes quite independently.

Paper/ sketchbooksDrawing pencils, coloured pencils, rulers.

3 Making carefully explore the Students will create/ build their sci fi element. Various modelling materials, as

characteristics of each of the artistic elements with control to express personal intentions when making painted, printed, constructed and virtual artworks;

LA: Will build a model, with supportMA: Will build a model which resembles their design, other than adjustments for which they can provide reasons.HA: Will construct a model which resembles the design, carefully exploring the characteristics of the artistic elements with control.

suggested in students’ designs last week.Aprons

4 Making carefully explore the characteristics of each of the artistic elements with control to express personal intentions when making painted, printed, constructed and virtual artworks;Knowledge how to apply their experience of drawing, painting, printing, tactile and constructed processes/techniques, selecting suitable tools to enable them to design and make art works;

Students will complete their model.

LA: Will build a model, with supportMA: Will build a model which resembles their design, other than adjustments for which they can provide reasons.HA: Will construct a model which resembles the design, carefully exploring the characteristics of the artistic elements with control.

Various modelling materials, as suggested in students’ designs last week.Aprons

5 Generating Ideas use a camera, varied drawing approaches, collage and digital media to record from life and secondary sources to inform and develop imaginative ideas for their work;

Students will photograph an environment in which to place their sci fi element, ie, outdoors, classroom, playground etc. Some might photograph the model in the environment, using forced perspective. The teacher might talk about composition and the rule of thirds/ golden circle.Students will photograph a person, positioned in a way that will work within the overall project, ie the person might be looking up at the monster or running away from the robot.LA: Will photograph an environment and also a person.MA: Will Photograph an environment and will photograph a person, in a position to match the proposed design.HA: Will photograph both a person, and environment, with consideration to the positioning, composition and perspective, so that they will appear to be in the same place once composited.

Cameras or ipadsAccess to environments as described in the students’ designs, ie playground, wooded area, grass etc.

6 Making carefully explore the characteristics of each of the artistic elements with control to express personal intentions when making painted, printed, constructed and

Put together the three layers of the project. This could be done on a computer, using software such as photoshop or paint, or could be done by printing the photos and cutting them out to place them.LA: Will produce one image combining a sci fi element and an environment.MA: Will produce an image which combines a sci fi model, a photographed

Access to computers with the editing software, or paper, printed images and scissors/ glue.

virtual artworks; person, and a photographed environment.HA: Will produce an image which almost looks like the three elements could have existed within the same scene.

7 Evaluating use the specialist language of discourse to express views and interpretations, drawing on their understanding of the creative works they study usingspoken and written forms.

Evaluation. Peer evaluation or self evaluation. Share feedback about the finished projects.

Term: Y8 Spring 1 Theme: AFRICA – African Art

Term: Y8 Spring 2 Theme: HORROR - Outside the Inside – Burton and GiegerContent ARE objectives. Activities Useful ResourcesWk 3.1 – Comparison of styles

Evaluate: evaluate and express an opinion about the visual images, artists’ and students’ work being investigated using descriptive and critical language when speaking and writing. (Y7/8)

Knowledge: how to recognise and name different art forms including types of painting, craft, sculpture, design and

Present students with images by two different artists - suggested artists: Tim Burton and Giger (Res.1). Students should analyse the images and group them together according to similarities, resulting in a page of Burton imagery and a page of Giger imagery; annotate to explain how images have been grouped - write a few sentences comparing the two artists, e.g. ‘Both artists use little colour and portray dark feelings, but Giger fills the page with detailed and realistic imagery while Burton uses strong silhouettes and contrasting black and white, boldly, in a rough, unfinished style.’ Students should at least note one similarity and one difference.

Basic pencil shading activity – see Res.2 for guidance if needed. Students should draw in their sketchbooks five small boxes in a row. Leave the first one blank, to show the lightest tone, being white. In the next box, use an H grade pencil and shade very lightly; the next box they should shade a little darker. The next box should move to a B graded pencil to create a darker tone, and so on, until the 5th box is a very dark shade.

Drawing pencils of different shades, e.g. 3H, HB, 2B, 4B.

Res.1 – tim burton - hr giger - images.docx (in Resources folder, HT3)

Res. 2 – ‘How to Shade with PENCIL for BEGINNERS’ (13:28) - https://www.youtube.com/watch?v=-WR-FyUQc6I

architecture, photography and digital media. (Y7/8)

Knowledge: that particular kinds of marks can be made with different materials or controlled using suitable tools.(Y7/8)

Students should understand the use of differently graded pencils. Next they should do the same 5 boxes of varied tone, but explore hatching and/or cross hatching; a fine-line black pen could also be used to explore this. Draw a circle or a hill and shade it using a realistic shading style and then the same shape shaded using hatching, perhaps in the style of Tim Burton. Discuss and annotate the pros and cons of each style, i.e. realism versus texture and stylisation; students should be able to associate each with an artist - Giger uses realism whereas Burton uses a rough, sketchy, ‘childlike’ style.

LA – recognise similarities and differences in style.MA – attribute stylistic features to a particular artist.HA – reproduce stylistic features of a particular artist.

Wk 3.2 – Foreground, midground and background

Making: knowledgeably develop their own practical skills through investigation and experimentation using a range of materials and techniques with increasing control and purpose. (Y7/8)

Generating Ideas: explore a sequence of design steps to develop and improve ideas using thumbnail studies, annotation, multi-views, different compositions, maquettes or prototypes. (Y7/8)

Evaluating: provide

Students should follow step by step instructions from the teacher, to produce a basic Tim Burton scene. They should identify foreground, midground and background in a range of Tim Burton images, annotated in sketchbooks (Res.1).

Students should then produce three or four thumbnails of their own Tim Burton inspired scenes, which include a foreground, mid, and back ground - these will form the initial ideas to develop into 3D construction in later lessons. Students could work in a group to mindmap ideas on a whiteboard about what might be seen in a Gothic/Tim Burton scene, to give them a list of ideas, e.g. gravestones, houses, a fence, a door, hills, a moon, a silhouette of a person or animal, texture inc. hatching and shapes etc. (Res.2 for further examples of foreground, midground, background).

Students should evaluate these at the end of the lesson, considering which has the best use of: texture, using hatching; black and white stripes or squares; silhouette (with the hope that these have been noted as Tim Burton qualities in the previous exercise). It may work well to give each student a pre-prepared speech bubble so that they can write a positive comment about a peer’s work and place it next to the work; the peer might stick it in their sketchbook and the writer might stick a copy of it in their own sketchbook.

Book: ‘Nightmare Before Christmas: The Film, The Art, The Vision’ by Tim Burton

Res.1 - tim burton images.docx (in Resources folder, HT3)

Res.2 – ‘Composition for Artists - Ep.08 Foreground, Midground, & Background’ (6:32) - https://www.youtube.com/watch?v=kOjvbfTeJaM

honest assessment and purposeful feedback to their peers describing strengths and possible next steps. (Y7/8)

LA – know how to identify foreground/midground/background.MA – use basic techniques to produce an image showing foreground/midground/background.HA – produce an image showing foreground/midground/background and use a range of techniques to provide texture and depth to the image.

Wk 3.3 – Constructing 3D layers

Generating Ideas: explore a sequence of design steps to develop and improve ideas using thumbnail studies, annotation, multi-views, different compositions, maquettes or prototypes. (Y7/8)

Students will select a design from the thumbnails prepared last lesson and construct it by drawing layers on cardboard. Foreground should be on one layer, midground on another and the background can be drawn on the inside back section of a box (cut away at the front/top to create a 3D/freestanding structure). Foreground and midground layers are then stuck in place (either by attaching to the bottom of the box or by attaching side flaps to the inside sides of the box). Students may use the style of Tim Burton to create this scene; HA students might make a moving part, such as a car which moves across the landscape, or a boulder which rolls down a hill.

LA – create a 3D scene using foreground/midground/background layers.MA – add texture to a 3D scene comprised of foreground/midground/ background layers.HA – add a moving element to a 3D scene comprised of foreground/midground/background layers.

Cardboard box per student (such as a cereal box).

Pieces of cardboard (or could use cutaway pieces from the box) for creating layers – at least two layers per student.

Scissors

Glue/tape to attach layers.

Black pen or fineliner to draw images/add texture on layers.

Wk 3.4 – Knowing the artist

Evaluating: select, read about and respond to suitable art works on the web, in books and other sources, making a personal interpretation in spoken and written forms. (Y7/8)

Generating ideas: control their selection and interpretations of

Artist research – Tim Burton. Students should use the internet, books and/or printed materials provided by the teacher. Students to create a page of research – this can be produced in the format of their choice (PowerPoint, leaflet, poster, essay etc.) Key points may include: - Reference to the works of Tim Burton (Res.4)- Identifying the types of work (film, character design, stop motion

etc.) (Res.5/6)- The influence Burton’s life had on his art (he felt like an outcast

growing up and this is reflected in most of his work) (Res.1/2/3/4/5)- Details about Burton’s life (Res.1/2/3/4)

Research may include watching several film clips and looking for any common traits in characters/style/ themes. Research can be developed through an examination of genre and/or Gothic conventions.

Res.1 – ‘Tim Burton Biography’ - https://www.biography.com/people/tim-burton-9542431

Res.2 – ‘Tim Burton Biography’ - https://www.imdb.com/name/nm0000318/bio

Res.3 – ‘Tim Burton Biography’ - https://www.thefamouspeople.com/profiles/tim-burton-4168.php

Res.4 – ‘Tim Burton’ - https://en.wikipedia.org/wiki/Tim_Burton

elements from the study of artists, designers, architects and other cultures to creatively inform their individual designs and planning for a proposed outcome. (Y7/8)

LA – Research and record some facts about Burton’s life and works.MA – Research and record some facts about Burton’s life and works, with a focus on one or two specific films and how/why they were made.HA - Research and record facts about Burton’s life and works, with a focus on one or two specific films, identifying and explaining techniques used which characterise Burton’s work.

Res.5 – ‘The Art of Tim Burton: The Artist Before The Filmmaker’ - https://the-artifice.com/art-tim-burton/

Res.6 – ‘Tim Burton Inspired Style’ - https://www.rebelcircus.com/blog/tim-burton-style/

Wk 3.5 – Setting a scene

Knowledge: about the codes and conventions that define the different creative forms in art, craft and design so they can research, plan and develop several interpretations and designs. (Y7/8)

Students should learn to identify a range of camera shots and their uses, such as close up, extreme close up, etc. Teacher to show film openings of their choice (suggested link with Tim Burton – Res.1 or Res.2). Discuss techniques and why they might have been used (Res.3)Students should consider how to make an opening scene to a film of their choice, including relevant genre, images and techniques, e.g. horror/suspense - a long shot of a village, silhouette of a man approaches, close up of footsteps, his hand on the door knob, door opens slowly. Create a storyboard to plan the opening, aiming for 3-6 shots (templates - Res.4/5/6). The aim is not to tell a story, but to set the scene for what may come next, and create a mood, e.g. suspense, shock etc. This should show the influence of Tim Burton, or an artist of their choice if planning for a different genre.

LA – create a storyboard for 3 shots, considering techniques to build an emotion.MA – create a storyboard for 4 shots, considering some film techniques and explaining how they are to be used.HA – create a storyboard for 6 shots, using appropriate terminology to describe camera actions and explaining the effect on the audience.

Res.1 – ‘HD 1080p | Tim Burton's The Nightmare Before Christmas Intro - This is Halloween’ (4:28) - https://www.youtube.com/watch?v=vHLgob-PpIk

Res.2 – ‘EDWARD SCISSORHANDS (1990) Opening Titles’ (2:47) - https://www.youtube.com/watch?v=rvOmlRkKRgQ

Res.3 – ‘Film shots and their effect on the audience’ - https://www.slideshare.net/SianLynes/film-shots-and-their-effect-on-the-audience

Res.4 – large storyboard (stage).docx (in Resources folder, HT3)

Res. 5 - large storyboard (film).docx (in Resources folder, HT3)

Res.6 - 12 box template.pub (in Resources folder, HT3)

Wk 3.6 – Filming a short scene

Making: work safely and as part of a team, with an understanding of process and the actions required to successfully follow

Students will create their short film opening. Suggested resources: an iPad with iMovie for editing. Possible filming techniques might include cut-out or stop-motion animation, or cell animation using acetate. Students might also add music to emphasise mood or sound effects, using editing software.

Filming resource – iPad with iMovie, laptop MovieMaker, digital video camera etc.

each technique to improve and produce good quality outcomes. (Y7/8)

LA – film a short scene using a planned storyboard.MA – film a short scene using a range of techniques. HA – film a short sequence using a range of techniques and edit to add mood/effect.

Term: Y8 Summer 1 Theme: GOOD V EVIL – Banksy Street ArtContent ARE objectives. Activities Useful ResourcesWk 4.1 – Introducing Banksy

Give the students random pictures by two artists – one should be Banksy, and the other an artist of the teacher’s choice – a suggestion might be Andy Warhol, or someone distinctively different for LA, such as Salvador Dali. Ask the students to sort the images into piles, looking for similarities or differences, but do not tell them initially that there are two artists – they should be able to sort and justify their choices. When the images have been sorted, discuss how the piles have been decided. After the discussion, tell the students that there were two artists, and reveal their names.Introduce Banksy – paints on street – art or vandalism? How does Banksy differ from other artists? Possible answers to explore might be: his canvas is the street, most of his art cannot be bought and placed in an individual’s home, he is controversial, a recent art piece began shredding itself immediately after being sold for millions thus subverting the establishment, and so on. Students should stick a selection of Banksy images in their sketch book and annotate with pertinent notes from the class discussion.

LA: Recognise similarities and differences in artistic style.MA: Recognise defining features of specific artistic styles and identify these in the works of recognised artists.HA: Group together images using a range of self-defined criteria and justify the reasons for the groupings.

Selection of work from Banksy and another artist of teacher choice.

Wk 4.2 – Is Banksy ‘Good’ or ‘Evil’?

Discuss the question: Banksy’s work is considered ‘anti-establishment’; if he creates an image which expresses an opinion of being against war and conflict, is this a case of good vs evil, and if so, which side is good and which side is evil?Look at examples of Banksy’s work – which stylistic features does he commonly use? Also consider setting/location – are there any similarities there? Students should add more images to their sketchbook and update their annotation.Banksy often comments on social/global/current issues through his work –

students should consider some social/global/current issues and create a mindmap or list in their sketchbook. Ideas might include climate change, global warming, environmental damage, pollution, deforestation, war and conflict, homelessness or social displacement. Students should make notes on what these issue are about, and their own viewpoint.

LA: Identify stylistic features which characterise the work of a specific artist.MA: Interpret work from a specific artist to suggest links to social/global/current issues.HA: Understand and explain the context for the creation of art by a specific artist.

Wk 4.3 – Stencils in the Style of Banksy 1

Using the ideas from last lesson, students will create a stencil and produce an A4/A3 image in the style of Banksy (size depending on ability – LA may find a larger stencil easier to work with, smaller stencils with more detail require a higher level of ability to produce). Ask students to create a pencil sketch initially with the subject being a social/global/current issue. Teacher should model how to create a stencil as a reminder of previous learning, then each student should create a draft stencil on paper. Once the stencil is correct, i.e. all the sections are joined and the image is clear, the stencil can be drawn onto stiff card and the sections cut out.

LA: Create a piece of art which uses stylistic features from, or imitates, a recognised artist.MA: Create an independent piece of art which uses stylistic features from a recognised artist.HA: Demonstrate a clear understanding of how stylistic features are used by a recognised artist and integrate some of these features to create a completely new piece of art.

Wk 4.4 - Stencils in the Style of Banksy 2

Using the stencil prepared last lesson, students can begin to create their image. Consideration should be given to colour, tone and definition. Colours can also be layered for effect, or textures used (e.g. textured paint or a textured canvas to work on).Students should make notes in their sketch book concerning the creative process and decisions they made. When the piece is complete, a small copy of their image can be stuck into their sketch book and they can compare it to one of the Banksy images considered previously.

LA: Create a piece of art which uses stylistic features from, or imitates, a recognised artist.MA: Create an independent piece of art which uses stylistic features from a recognised artist.HA: Demonstrate a clear understanding of how stylistic features are used by a recognised artist and integrate some of these features to create a completely new piece of art.

Wk 4.5 – Graffiti and Street Art 1

Consider the question: Is Graffiti street art or vandalism? Examine arguments for and against.Study examples of graffiti – these might include gang tags, commissioned street art, commemorative temporary installations (Res.1), or other examples as decided by the teacher.Working in pairs or small groups, students should begin to plan a piece of street art – decide on the style, i.e. will the piece include text, images or both? Pencil sketches in sketch books should be completed initially; these can then be developed with colour.When the planning has been completed, students can begin to prepare the outline for their project directly onto the agreed surface. Teacher should model safe working practices and how to control the spray for effective contouring and coverage.

NOTE: Ideally, this project will be completed on a wall or outdoor surface, large enough to accommodate either the whole class painting their piece on it, or several smaller outdoor surfaces to accommodate single individuals or a group. If surfaces such as these are not available, consider sourcing large boards which can be painted on and then reused for something else. Community groups may also be receptive to street art used for promotional purposes, i.e. to mark an event or similar – contact the local authority or community groups to enquire if links may be made.

LA: Recognise that there may be moral arguments surrounding a piece of art.MA: Understand some of the moral issues surrounding a piece of art.HA: Question some of the moral issues surrounding a piece of art and give a personal response to these.

Res.1 - https://www.telegraph.co.uk/culture/art/art-news/11513128/Graffiti-tributes-to-Terry-Pratchett-emerge-in-London-and-Bristol.html

Spray paint in a range of colours.

Wk 4.6 - Graffiti Complete the graffiti painting. When complete, students should write up an

and Street Art 2

evaluation, giving details of the inspiration and creative process behind the painting. Remind students that technical language should be used where possible, and detailed reference should be made to artists or pieces which have provided creative inspiration.

LA: Evaluate the piece of work, recognising influences upon it.MA: Determine which factors have influenced the piece of work and suggest reasons for this.HA: Refer to a range of influences or influencing factors which affected the creation of the piece of work, and critically compare the work to the work(s)/artist(s) which inspired it.

Term: Y8 Summer 2 Theme: KEEPING SAFE - Black and White and Shades of Grey, Collages and silhoettesContent ARE objectives. Activities Useful ResourcesWk 6.1 – Introduction to silhouettes

Introduce the concept of silhouettes (Res.1/2/3 – optical illusions). Present students with a series of random silhouetted images – ask them to consider if the image has a strong silhouette, i.e. can they tell what the image is from the silhouette (Res.4). Group the silhouettes into pages in sketchbooks – strong silhouettes (where the image is clear) and less clear silhouettes (where the image is more ambiguous and open to interpretation).Ask the students to create their own silhouette images. Are they clear/ambiguous?

LA: Recognise a strong silhouette outline. MA: Identify two strong silhouettes and offer an interpretation of an ambiguous silhouette.HA: Recognise strong silhouettes and offer interpretations of ambiguous silhouettes, giving reasons for possible interpretations.

Res.1 – ‘Silhouette Optical Illusion’ (2:47) - https://www.youtube.com/watch?v=bgTbvyKyPCE

Res.2 – ‘The spinning silhouette illusion (aka the spinning dancer illusion)’ (2:05) - https://www.youtube.com/watch?v=7GWeyXj-448

Res.3 – silhouette optical illusions.ppt (in Resources folder, Cycle 1, HT6)

Res.4 - silhouetted images.docx (in Resources folder, Cycle 1, HT6)

Wk 6.2 – Tonal images

Ask students to consider images which represent ‘crime and punishment’ – examples might be weighing scales, Lady Justice statue, superhero figures such as Batman etc., police helmet, handcuffs etc. Body language represented in images may be considered to interpret intent. Students should select an image of their choice and use available resources (Internet, picture books, graphic novels etc.) to find a strong silhouette for their image. Once a silhouette has been located, students should transfer the outline to a piece of paper. Where it is not possible to find a

Range of newspapers/magazines with black/white/grey tonal images, or lots of black/white text or dark images

Internet access

Printer access

silhouette, they can create one by taking a copy if the image and blanking out the details inside the outline.Students should use the silhouette to create a tonal image using the newspaper or magazine pictures. Tear up the newspapers/magazines into small sections and sort into piles of similar tones or shades. Students should then use one tone to fill the inside of their chosen silhouette image, and another to cover the background. MA/HA students may wish to experiment with the different effects provided by torn or cut papers. They may also wish to use three tones (light, medium and dark) to graduate or add effect to their silhouette.

LA: Reproduce a silhouetted image using a range of materials.MA: Reproduce a silhouetted image using a range of materials and techniques for effect.HA: Reproduce a silhouetted image using a range of materials and techniques for effect.

Paper

Glue

Scissors

Wk 6.3 – Crime Collage Project Pt.1

Crime Collage project – students will collect and select a range of materials and use them to create a collage piece. The common theme will be ‘Crime and Punishment’ but is open to student interpretation also.Materials used might be from newspapers, magazines, pre-printed images or photocopies of existing art pieces, images printed from the Internet etc. Students should collect a range of source material to select their images from. Once their materials have been assembled, they should choose how to represent them in a collage – for example, they might use ripped pieces of paper from the magazines, mixed with images/text photocopied onto acetate sheets and overlaid across a background. They may choose to embellish their piece with stitching or other emphasis on key images/details/outlines.Students should give special consideration to tonal images to offer sharp contrasts (i.e. black and white) or graduated images (i.e. shades of the same colour as a block, or graduated for effect).

This lesson should be used for assembling the source materials for the collage.

LA: Choose one or two source materials to meet a themed design brief.

Range of images/texts related to crime – newspapers/magazines/Internet etc.

Acetate sheets

Needle and thread

Fabric or other textiles

Scissors

Glue/glue gun

MA: Choose a range of source materials to meet a themed design brief.HA: Select and evaluate a range of source materials to meet a themed design brief.

Wk 6.4 - Crime Collage Project Pt.2

Crime Collage project – see Wk 6.3 for details. For this lesson, students should plan how they want to represent their selected images/texts, i.e. all on paper, photocopied/reproduced/drawn onto other media (card/acetate etc.) and prepare the resources. Students should also produce draft or sample pieces to experiment with techniques they may wish to use, i.e. cutting out or tearing/ripping, different ways to put the collage together such as gluing/stitching/felting machine if textiles used.

LA: Use one or two simple techniques to produce a draft or sample piece to meet a themed design brief.MA: Use a range of familiar techniques to produce a draft or sample piece to meet a themed design brief.HA: Experiment with a range of techniques, some of which may be unfamiliar, to produce a draft or sample piece to meet a themed design brief.

See Wk 6.3

Wk 6.5 - Crime Collage Project Pt.3

Crime Collage project – see Wk 6.3 for details. For this lesson, students should begin to assemble their collage. They can use their draft/sample pieces for inspiration but should be allowed to adapt and develop their design if they wish; if they do change their design, encourage them to make a note in their sketch books about what they have changed and why.

LA: Use simple or familiar techniques to produce a final piece based on draft/sample ideas.MA: Use a range of techniques to produce a final piece based on draft/sample ideas.HA: Use a range of techniques and materials to produce a final piece, adapting from previous drafts/samples to develop the work.

See Wk 6.3

Wk 6.6 – Evaluation of project

Complete the Crime Collage project and self-assess the finished piece – students can write their own evaluation, or use prompts from the teacher to guide them (teacher’s own criteria or Res.1). Points for consideration may be: - links to the theme/design brief (Crime and Punishment)

Res.1 – evaluation prompt sheet.docx ((in Resources folder, Cycle 1, HT6)

- which materials/techniques were used- how these affected the final design- how these affected the audience- practical issues encountered- how problems were overcome (or not)- what could/should be changed if a similar project were to be

undertaken).

Students may also like to peer-assess other pieces, using similar criteria, but with a focus on audience impact and interpretation.

LA: Evaluate how the collage project met the design brief.MA: Explain the reasons for choices made regarding materials and techniques used.HA: Assess and explain the impact of choices made regarding materials and techniques used.

Year 9Term: Y9 Autumn 1 Theme: FITTING IN - Metamorphosis and Transition, EscherContent ARE objectives. Activities Useful ResourcesWk 1.1 – MC Esher

Discuss metamorphosis and transition; how objects can change, how people can change, coming of age etc. Look at a variety of work by MC Escher – focus on examples which show transition/ metamorphosis, but a range may be examined to get a feel for his work. Students may either select a few images to stick in their sketchbook, or the teacher may provide this. The images should then be annotated to highlight features of Escher’s work which show metamorphosis and transition, and how this is achieved.

LA: Understand how change may occur and be demonstrated.MA: Recognise how images have changed, with a focus on Metamorphosis I/II.HA: Suggest reasons why images such as Metamorphosis I/II show change and transition.

Images of Escher works, especially Metamorphosis I/II.Books on Escher.Smaller photocopies of Escher works for sketchbook annotation, or student printouts.

Wk 1.2 – Shading and Gradation

Show examples of images featuring shading and gradation of colour. Ask students to experiment with shading: students should draw a wide rectangle across the page (suggested size might be 5cm wide x 1cm high), and working left-to-right, shade it carefully. Compare with examples of gradual shading from Escher – shading should be seamless, i.e. difficult or impossible to see pencil lines. Students should then draw around a circle and shade it to make it appear like a 3D sphere, again looking at Escher’s shading for inspiration. NOTE: Smaller rectangles/spheres allow more detailed shading than trying to cover a larger area – students may wish to experiment with different sized shapes to gauge the effect when using shading techniques. Possible extension activities: observational drawing. Draw a body part such as a hand or foot and shade it carefully, or print and cut in half an Escher work and complete the missing half of the drawing, with careful shading. Students may also like to try shading with colours, or different media – how does this affect the outcome?

LA: Observe how techniques such as shading and gradation can influence

Sketchbooks, pencils (different grades if possible).Rulers, erasers.Escher images for reference.Photocopies of Escher images, A5-sized.

perception.MA: Use careful shading and gradation so that lines are not visible within the shaded area.HA: Demonstrate controlled shading and gradation to produce effects ot depth and texture within the shaded area.

Wk 1.3 – Metamorphosis – Change and Transition

Demonstrate metamorphosis in action – working as a class or in smaller groups, begins with approximately eight post-it notes in a wad. The first person in the group sketches a simple animal on the bottom post-it, e.g. a beetle (a timer may be useful to limit sketch time to no more than 1/2 minutes per person). The wad of post-its is passed to the next student in the group; they now sketch on the next post-it up (second to the bottom in the wad), so that they can trace most of the sketch from the last person, but the second student should then change a part of the drawing. The class might decide as a group what animal to work towards, i.e. the final sketch will be a butterfly. The next student then traces on the next post-it up from the bottom, and they should also alter the image from below to add something extra, e.g. they make the outline like butterfly wings. The next student moves to the next post-it note from the bottom, changing their image so it looks a little more like a butterfly, and so on. When the process is complete, lay out the images in a row to look at the transition. Students should take a photo of the completed metamorphosis to stick in their sketch books, and annotate to explain how the process of change happened.

NOTE: If students get distracted whilst waiting for their turn, another image could be started to go around at the same time but be careful not to confuse them. An alternative activity may be useful, for example artist research, looking at image resource books, etc. Another activity might be individual flip books, where students create their image in a book and flip the pages to change it – books could be created from pieces of scrap paper cut to equal sizes and stapled together.

LA: Recognise how an image changes during the transition exercise.MA: Develop an image by adapting and changing it towards a specified outcome.HA: Have a clear understanding of the transition process and be able to

Post -its. Pencils/ black pens.

Escher/transition artist image books.

Optional: small flip books – may be constructed from scrap paper.

change an image in appropriate stages.Wk 1.4 – Transition and Metamorphosis Project 1

Students should begin work on a final piece for this topic, inspired by Escher and themed on transition or metamorphosis.Suggested activity- on a sheet of drawing paper, draw very light guidelines. Guidelines could be done with a ruler or could be wavy lines; they should cross the page diagonally in both directions, to create something which might resemble a diagonal checkerboard. The guidelines should be approximately a ruler width apart, whether straight or wavy; the end result will be a series of rough diamond shapes covering the page. Students may work from left to right or from top to bottom, or even from the centre outwards. They should start by drawing one image inside one of the diamond shapes, but not entirely inside all of the edges - the image can spill out a little so it is not contained solely within that box, e.g. a frog on the left of the page. They then move to work at the opposite end/side of the page (e.g. the right-hand side) drawing their final image such as a bird, again mostly within the guidelines but not completely – these will form the starting and final images. Over the next lessons (Wks 1.4/1.5/1.6), students will fill in the stages in-between the two images, looking forwards at the final image and creating steps of metamorphosis. These may be simple, or as complex as the student can explore, perhaps even black and white grid gradually becoming a flock of black and white birds. Images do not all have to be precise; some might be a simple shape. The focus is on transition: an image starting as one thing and gradually step by step becoming another. An interesting extension may be to complete another image as a class project, where a group of students turn one thing into another.

LA: Demonstrate an understanding of transition by working to transform one image into another, different image.MA: Develop one image into another, different image, through a clear, planned sequence of transition.HA: Confidently experiment with transition by developing one image into another, different image, and repeating the technique to create a full-page piece.

Paper, pencils, rulers.

Some source imagery of animals can be good for inspiration, books containing pictures of animals.

Wk 1.5 - Continue the transition and metamorphosis piece started last lesson.

Transition and Metamorphosis Project 2

LA: Demonstrate an understanding of transition by working to transform one image into another, different image.MA: Develop one image into another, different image, through a clear, planned sequence of transition.HA: Confidently experiment with transition by developing one image into another, different image, and repeating the technique to create a full-page piece.

Wk 1.6 - Transition and Metamorphosis Project 3 – Completion and evalution

Complete the transition and metamorphosis piece and evaluate. Students should remind their group what the objective was and state how they have achieved this in their work. Students should consider one piece of positive feedback to indicate how the technique criteria has been met (What Went Well) and one piece of constructive feedback (Even Better If). Criteria might include seamless shading, clear metamorphosis, visible links or transition between the starting image and the final image, innovative repetition or development of the metamorphosis across the whole piece, etc.

LA: Demonstrate an understanding of transition by working to transform one image into another, different image.MA: Develop one image into another, different image, through a clear, planned sequence of transition.HA: Confidently experiment with transition by developing one image into another, different image, and repeating the technique to create a full-page piece.

Term: Y9 Autumn 2 Theme: DRUGS - Surrealism and Identity, Dali and MagritteContent ARE objectives. Activities Useful ResourcesWk 4.1 - Representation of personal identity

Generating Ideas: Use a camera, varied drawing approaches, collage and digital media to record from life and secondary sources to inform and develop imaginative ideas for their work.

Student to brainstorm ideas relating to own identity, i.e. clothes are important to me/I like to stay indoors/I just watch TV/I love my dog. Think of an image which would represent each idea, i.e. a wardrobe of clothes/closed door/TV/dog. Select one image and take a photograph of this to include in sketchbooks (if this is not possible in class, assign as a flip-learning task ready for next lesson). Use the Internet to select images for the remaining ideas (can be from a range of media, i.e. paintings/line drawings/caricatures/photographs etc.) and create a document

PC/Laptop with Internet accessAccess to colour printing facilitiesGlue sticksSketchbooksPencils/writing pensCamera/iPad

(Y7/8)

Knowledge: How to recognise and name different art forms including types of painting. (Y7/8)

containing these – save, and print two copies (colour advised; no more than one/two images per page to allow for image manipulation). Stick one copy in sketchbooks and save the other for the next lesson.

LA - List two or three ideas relating to personal identity and select appropriate representations for these.MA - List two or three ideas relating to personal identity and select appropriate representations for these, giving reasons for choices.HA – List at least five ideas relating to personal identity and select appropriate representations for these, where possible using several photographs taken by the student.

Wk 4.2 – Introduction to Surrealism

Generating ideas: Spontaneously create imaginative responses and representations of the real world, remaining flexible to adapt and change artistic elements to express a specific meaning or idea. (Y7/8)

Knowledge: when and how to look at the works of artists studied to help them resolve creative problems to inform their own work. (Y7/8)

Introduce Surrealism (Res.1). Look at examples of Surrealism – artists to examine might include René Magritte (Res.2) or Salvador Dali (Res.3). Discuss concept of Surrealism. Select and add a few images to sketchbooks (images of teacher choice, or Res.4). Students to annotate images with descriptive words/phrases (independently, or Res.5 as a starting point). HA students may attempt to translate/ show some understanding of the definition:

Noun: Surrealism. A 20th-century avant-garde movement in art and literature which sought to release the creative potential of the unconscious mind, for example by the irrational juxtaposition of images.

Cut out printed images from previous week (the extra set) and arrange into a surreal collage – A3 paper would be most suitable, and images can be reprinted/repeated if desired, or supplemented by additional pen/pencil drawings. Teacher may wish to refer to imagery by other Surrealist artists to demonstrate how images work together to make one piece, i.e. an image inside an image, an image eating another image, multiple prints of the same image in different sizes, or cut into different shapes etc. Aim to fill the page – remind students it

Res.1 - https://www.tate.org.uk/kids/games-quizzes/sensational-surrealism-quiz

Res.2 - https://www.renemagritte.org/

Res.3 - http://www.salvadordali.com/

Res.4 - surrealist examples.docx (in Resources folder, HT4)

Res.5 - Surrealist Art - descriptive ideas.docx (in Resources folder, HT4)

Images created and printed from previous lesson.

should look dreamlike, or ‘surreal’ – there are no right or wrong techniques, and the stranger the better.

LA – Create a surreal image in sketchbooks using at least two source images, and annotate using at least 5 descriptive words from Res.5.MA - Create a surreal image in sketchbooks using at least four source images, using some annotation to explain why they are surreal, possibly supported by Res.5.HA - Create a surreal image in sketchbooks using at several source images, enhanced with own doodles/hand-drawn images, using independent annotation to explain why they are surreal.

Wk 4.3 – Creating a collage – preparation

Generating ideas: Explore a sequence of design steps to develop and improve ideas using thumbnail studies, annotation, multi-views, different compositions, maquettes or prototypes. (Y7/8)

Use the surreal collage from last lesson as a basis for creating a surreal piece of work. Students might trace over the image, or use another medium such as carbon paper to copy it. When reproducing, MA/HA students may like to be selective in developing their piece, and only use certain elements – if they do this, their draft piece should include further elements of their own design to complement the selected features (see Res.1/2 for ideas). A3 drawing/cartridge paper would be best to produce the draft image. HA students may like to experiment with surreal photographs (Res.3). WARNING: Res.2 contains a reference to the short film ‘Un Chien Andalou’ by Luis Buñuel and Salvador Dalí from 3:38 – 3:42 – teacher to assess if this is appropriate before showing.

When the image has been reproduced/planned, students should begin to consider the materials they will use to complete the piece. They may like to experiment with producing small colour samples using paints/pencils/pens/brushes of different gauges to see the different effects that can be achieved. Add these to sketchbooks.

LA – Produce a draft piece in preparation for creating a surreal image, copying pre-prepared work.MA - Produce a draft piece in preparation for creating a surreal

Res.1 - https://www.creativebloq.com/digital-art/creating-surrealist-image-3-top-tips-111413435

Res.2 – ‘Exploring Surrealism with Peter Capaldi | Unlock Art’ (5:06) - https://www.youtube.com/watch?v=uPD6okhfGzsWARNING: Res.2 contains a reference to the short film ‘Un Chien Andalou’ by Luis Buñuel and Salvador Dalí from 3:38 – 3:42 – teacher to assess if this is appropriate before showing.

Res.3 - https://www.designyourway.net/blog/inspiration/amazing-examples-of-surreal-photography-39-photos/

Tracing paper and/or carbon paper.Last week’s collageA3 drawing paper/good quality paper for paintingRange of pencils/pens/brushes

image, using selective elements from pre-prepared work.HA - Produce a draft piece in preparation for creating a surreal image, using selective elements from pre-prepared work, and evaluating a range of materials for completion.

Wk 4.4/4.5 – Creating a Surrealist piece

Making: Independently select pencils, brushes, fine or broad media and tools to effectively control a range of materials and techniques when creating their work. (Y7/8)

Students to paint/create their Surrealist piece, using a range of materials, techniques and tools. Students should seek to add detail and texture to their work, taking time to create their finished piece. Control should be demonstrated, as well as development of work to move on from the planning/draft stages.

LA – Produce a completed Surrealist piece, using one or two selected materials, techniques and tools.MA - Produce a completed Surrealist piece, using a range of materials, techniques and tools and being able to explain choices.HA - Produce a completed Surrealist piece, using a range of materials, techniques and tools, demonstrating effective control which impacts on the artistic detail of the piece.

Paints Range of pencils/pens/brushesWater, in water potsPaper towels/spongesTable coverings

Wk 4.6 – Self or Peer Evaluation

Evaluating: Use their previous experience and judgement to identify strengths in the work evaluated and those aspects where things can be improved.

Students to evaluate their work (self-assess; may peer-assess if decided as appropriate by teacher).

Areas for consideration:- What did you set out to achieve? (e.g. to express aspects of

identity/demonstrate or create a Surrealist influence, etc.)- Was this achieved? How?- Which skills have you learnt/developed? (e.g. image

manipulation/image placement/paint or pen techniques etc.)- What might you change/improve next time you attempt a

similar task? (e.g. paint too dry/too many or not enough images on the page/more or less colour etc.)

- How could you make improvements? (e.g. add more or less water/research and add or remove more images linked to my identity/consider colour schemes or use a colour wheel etc.)

Students to discuss then annotate on copies of their finished piece in their sketchbooks.

Res.1 - how much do you know quiz.docx (in Resources folder, HT4)

Res.2 - Art quiz questions.pptx (in Resources folder, HT4)

Quiz: HA – Res.1, MA/LA – Res.2

LA - Identify an area to improve and state one way in which they have achieved the task of a surreal painting by referring back to their original annotations about Surrealism and choosing one which matches their own work.MA - Identify an area to improve and state one way in which they have achieved the task of a surreal painting by referring back to their original annotations about ‘Surrealism’ and choosing one which matches their own work; use one or two sentences to explain how.HA - Identify an area to improve and state one way in which they have achieved the task of a surreal painting by referring back to their original annotations about ‘Surrealism’ and choosing one or two which match their own work; write a short paragraph to explain how.

Term: Y9 Spring 1 Theme: DIFFERENT CULTURES – Picasso, Portrait drawing, CubismContent ARE Objectives Activities Useful resources

Portrait drawing. Cubism. 3.1

Generating Ideas explore a sequence of design steps to develop and improve ideas using thumbnail studies, annotation, multi-views, different compositions, maquette’s or prototypes;

Students should draw a portrait, with step by step guidance from the teacher. Ie, Start with a rulers’ width, drawn all the way around the outside of the page. Draw the basic face shape and draw the eyes half way down, then the bottom of the nose half way below that and the lips half way below that. (Find a video from youtube if you aren’t familiar with proportions of the face).After the step by step instructions have been completed as far as having a general face, the students can then be more creative and personalise the face.

Students may choose to leave some construction lines to add interest. After the lesson, the teacher will need to photocopy the portraits, in preparation for the next art lesson.

LA: Will draw something resembling a face.MA: Will attempt every step, guided by the teacher, and therefor should have all of the facial features included.

Drawing pencils, rulers, drawing paper or sketchbooks.

HA: Will draw a face, correctly proportioned, with some skills and accuracy.

3.2 Generating Ideas complete design studies for 2D, 3D and craft outcomes, including research, observed studies, and visualisations;

Students should find (or be given) a few images of portraits by Picasso. These can be stuck into sketchbooks and annotated/ discussed.

Students should make a list of Picasso attributes, ie, bright colours, bold outlines, etc.

Students should then draw a quick sketch of a face, from the side view. A timer could be on the board, five or ten minutes should allow enough time to complete a sketch as it doesn’t matter if it is very rough/ inaccurate. The sketch can be very stylised if the students chooses. Tell the students this is an opportunity to be a bit bold/ creative. It may be useful for the teacher to draw a side view of an eye on the board.

This will allow students to include multiple viewpoints in their final piece, as Picasso did. A photocopy of the sketch will be needed for next week.

LA: Will stick images in books and add a few descriptive words, then produce something resembling the side view of a face.MA: Will stick images in books neatly, add descriptive words (some of which they identified themselves), and will draw a side view of a face, with eyes, nose, mouth, chin and ears.HA: Will stick images in books, will describe Picasso’s work and compare it to another artist in a sentence, and will draw a side view of a face with eyes, eyebrows, nose, chin and ears.

Images of Picasso’s Cubist portraits. A list of descriptive words might be useful for lower ability ie bright, bold, plain, flat, organic, rough, childlike, realistic etc.

Pencils, paper/ sketchbooks, gluesticks, pens.

3.3 Making show how they can respond in a direct and iterative way to any artists and designers studied, making thoughtful use of their sketchbooks to test ideas that inform their making.

Students then to be handed photocopies of the two previous week’s portraits for them to cut it up/ tear it up, and rearrange it in the style of Picasso. After cutting and sticking, they may add pencil lines to give any other details, ei a face outline, hair etc.

LA: Will create a collage of facial features.MA: Will create an abstract collage of facial features with some intent and purpose, including two viewpoints.

Portraits from the two previous weeks.GluesticksScissorsA3 paper to stick facial features onto.

HA: Will create a collage which has some similarity to Picasso’s. 3.4 Making work spontaneously with

drawing, painting and modelling materials experimenting with line, shape, tone, colour, texture, form and space;

Carrying on from the previous week, students will work on a photocopy of last week’s collage. They will paint it (using bold colours), and, time allowing, will then use black paint to outline everything, using varied line quality, as demonstrated by the teacher.

LA: Will produce a painting, which has some facial features within it, is painted with bold colours and has black lines.MA: Will produce a painting, which resembles a Cubist portrait, facial features from different angles, bold colours and black line work.HA: Will produce a painting which contains facial features from different angles, bold colours, where the paint has been applied evenly, and the paint is up to the edges because it has plenty of water in it. Also with black lines of varying line quality.

Photocopies of the previous week’s collages.Paint and paintbrushes, water holders, etc.

3.5Making work spontaneously with drawing, painting and modelling materials experimenting with line, shape, tone, colour, texture, form and space;

This lesson to be used to bring all students up to date. By the end of this lesson, all students should have a painted Cubist portrait, with black line work.

If any students are already at this point, they can work on an observational drawing of a still life arrangement. They should draw objects from one viewpoint, and then from another viewpoint, some of them also overlapping. (Ie, draw the clock from the front, and the side, then draw the bottle next to it from the front and the top).

LA: Will produce a painting which has some facial features within it, is painted with bold colours and has black lines.MA: Will produce a painting which resembles a Cubist portrait, facial features from different angles, bold colours and black line work.HA: Will produce a painting which contains facial features from different angles, bold colours, where the paint has been applied evenly, and the paint is up to the edges because it has plenty of water in it. Also with black lines of varying line quality.

Previous week’s work. Paints, paintbrushes, aprons, table coverings, water pots.

3.6 Evaluating describe the different characteristics of art and design and evaluate their qualities;

Evaluation. As a group, make a list on the whiteboard to describe what the objective of the project was. Ie: It should look like Picasso’s portraits; it should be bold colours…

Pens/ pencils and sketchbooks/ paper.

When 10 features have been listed, ask students to tick how many from the list they have achieved.

LA: Will offer a suggestion to the group list and will identify which of the attributes they have achieved. MA: Will use some descriptive and critical language while offering suggestions to the group discussion and will identify which of the attributes they have achieved.HA: As above, but will also identify how they could have improved their work to include more of the attributes.

3.7 Making: knowledgeably develop their own practical skills through investigation and experimentation using a range of materials and techniques with increasing control and purpose;

Student led.Give the students paper and pencils, and a limited amount of other materials if suitable for the group. Offer some copies of pictures that have been cut in half, for lower ability students to complete the missing half, and offer a still life selection for those who like to stretch their abilities.Students may choose to produce abstract work/ realistic/ stylised. This is an opportunity for them to be creative and explore their own artistic style.LA: Will attempt to draw the missing half of a pictureMA: Will draw/ paint something with increasing control and purposeHA: Will create art using the materials and resources offered to them, recording with some accuracy of line, shape, tone, colour, scale and proportion from observation and imagination.

Pens, pencils, paper/ sketchbooks, and other materials if appropriate for the group: ie paint/ collage/ charcoal/ ink.Still life display.

Term: Y9 Spring 2 Theme: THE PLANET IN CRISIS – David HockneyContent ARE objectives. Activities Useful ResourcesWk 5.1 – David Hockney

Introduce David Hockney – British-born painter whose work is often influenced by American culture. Discuss Hockney’s multiple viewpoints photocollages, and show examples; ensure students are aware of the scale of some of Hockney’s larger pieces.Give students a selection of Hockney landscapes (perhaps A5 or smaller), covered by black card frames so only a small section is visible. Ask students to give their response to the sections – what can they see? How does I make them feel? Move the frame around the larger picture, without exposing it – do the newly revealed sections evoke a different

response? Think about colours, tone, texture, subjects etc. Ask students to remove the frame to view the whole piece – what is their response now?Give students a larger Hockney image (A4/A3) and a frame with a larger aperture. Ask them to choose a section of the Hockney image and isolate it with the frame. They should now try and reproduce that section in their sketch books, replicating it as closely as possible, including colours – coloured pencils or watercolour pencils might be appropriate for this.

LA: State a range of artistic styles favoured by David Hockney.MA: Articulate a response to a piece of art by David Hockney.HA: Articulate multiple responses to a piece of art by David Hockney, considering a different viewpoint each time.

Wk 5.2 – A Different View

Expand on the framed view technique from last lesson: introduce the concept of framing using whatever is to hand. Lead a class discussion to establish a range of possibilities, e.g. view through fingers of own hand, chairs set on tables, etc.Once the concept has been established and understood in the classroom, ask students to go around the school building and find interesting ways of framing a view. They should take cameras with them, and be able to record a number of photographs of a specific view. HA may be able to use the images to demonstrate advanced techniques in a Hockney-style photocollage which is comprised of many pictures, each showing a slightly different section of a larger object or view.Photographs should be saved digitally for future development, and a printed copy will be needed for the next lesson.

LA: Understand that views can be framed in different ways.MA: Appreciate how framing a view from a different viewpoint can affect audience response.HA: Use framing techniques to selectively influence an audience response.

Wk 5.3 – Work in the Style of Hockney 1

Using the photographs from the last lesson, students should select a view which they will reproduce as a painting in the style of Hockney. Initial sketches including colour drafts should be recorded in sketch books. Students should also consider the medium of choice and record this,

unless the teacher wishes to guide or direct this. Oil paints or watercolours are good choices for this project.Ask students to share their sketches/plans with the class; this will help provide focus for them, and also assist the teacher in preparing the required materials for the next lesson.

LA: Plan a piece of work in the style of David Hockney.MA: Consider characteristics of work by David Hockney, and include more than one of these in a piece of independent work in the style of Hockney.HA: Identify specific characteristics of work by David Hockney and include these in a piece of work in the style of Hockney, being able to recount how these are represented.

Wk 5.4 - Work in the Style of Hockney 2

Begin painting the piece in the style of Hockney. As this will probably be a smaller piece, it should be completed by the end of the lesson. The completed piece will be used as the basis for a larger piece next lesson.

LA: Complete a piece of work in the style of David Hockney.MA: Consider characteristics of work by David Hockney, and include more than one of these in a piece of independent work in the style of Hockney.HA: Identify specific characteristics of work by David Hockney and include these in a piece of work in the style of Hockney, being able to recount how these are represented.

Wk 5.5 – Going Large 1

Use the completed painting from last lesson as the basis for a large-scale piece in the style of Hockney. Photograph or scan the painting and load into a computer connected to a projector. Use the projector to display the image on a wall or other large blank surface, enlarging to the desired size. Draw the outlines using a pencil or other suitable medium (chalk works as well), then paint the piece directly onto the wall.

NOTE: This is a good way to create a permanent display to showcase art in school. If a large blank wall is not available, a large piece of board could be used instead, or paper affixed to a large display board. As this is a large piece, not every original will be used – a selection of the best, as decided by the teacher, or perhaps voted for by students, would work well, with students working in small groups to complete the piece.

LA: Use technology to develop a piece of work.MA: Develop a piece of work by working in other mediums.HA: Develop a piece of work by working in other mediums, dynamically identifying and solving any problems which may arise in the process.

Wk 5.6 - Going Large 2 Complete the large-scale painting project. Peer evaluation could be sought by leaving a questionnaire asking for audience responses near the piece, or making such forms available in school. These could be collated and added to sketch books to provide feedback and enable development opportunities for future work.

LA: Use technology to develop a piece of work.MA: Develop a piece of work by working in other mediums.HA: Develop a piece of work by working in other mediums, dynamically identifying and solving any problems which may arise in the process.

Term: Y9 Summer 1 Theme: TRAVEL - Pop Art, Andy WarholContent ARE objectives. Activities Useful ResourcesWk 5.1 – Introduction to Pop Art.

Examine images by Andy Warhol (Res.1) – ask students to identify a common link (‘Death’) - what do they see? What might these works be about? Discuss typical imagery of death – what colours/styles/moods might be expected? Compare with Warhol’s work (teacher may wish to show other examples) – did he follow these ideas?Introduce the concept of repetition in relation to Warhol’s work (Res.2) – discuss Pop Art (Res.3). Examine how it links to mass media and consumerism using modern examples of teacher choice.Stick smaller versions of the Warhol images (Res.1) into sketch books and annotate on style/technique etc. as discussed.Use Res.4 as an optional introduction to Pop Art styles and artists – it is recommended this is opened using the Chrome browser to ensure it is displayed correctly.

LA: Understand that Pop Art has distinct, recognisable forms and features.MA: Identify forms and features used in the Pop Art movement.HA: Suggest relationships between the forms and features used in the Pop Art movement and how they originated.

Res.1 - Andy Warhol images.docx (in Resources folder, Cycle 1, HT5)

Res.2 – https://revolverwarholgallery.com/andy-warhol-screenprints-process-history/

Res.3 - https://www.tate.org.uk/art/art-terms/p/pop-art

Res.4 - https://www.playbuzz.com/jeffboatman10/how-well-do-you-know-pop-art

Wk 5.2 – Pop Art Prep: Selecting an image

Refresh distinctive forms and features of Pop Art. Ask students to brainstorm ideas for images which represent their generation – this may be something which is so familiar it is overlooked (e.g. branded items/logos), or something with specific meaning or linked to current affairs (e.g. EU flag, Royal baby, global warming issues, Theresa May, current celebrities). NOTE: detailed images of faces may be difficult to create prints for – teacher may wish to guide students towards simpler representative images, e.g. a trainer, lipstick etc.Students then need to select an image to focus on, and either find an image to use or draw one themselves – again remembering that simple images will work better than complex, detailed pictures. Simplify the image by tracing it three or four times, blocking in areas of colour and labelling each patch of colour. It may be advisable for LA students to use two or three colours at most, therefore producing only two/three tracings. Colour in the image so each copy has one specific area blocked in, and all areas are covered by the final tracings, i.e. if the image is divided into a blue section and a red section, the first tracing will have the blue section only coloured in and the second tracing will have the red section only coloured in, and if layered on top of each other, all the sections will have been coloured in.NOTE: IT IS CRITICAL THAT ALL OF THE TRACINGS ARE THE SAME SIZE, INCLUDING THE TRACING PAPER USED. It is suggested that the images be designed to fit onto A4 or A5 to make the sizes standard, and whichever is selected must be used for all the images. This will ensure that the print sections will align with each other when the final piece is produced. Whichever size is selected, the backing medium used for preparing the print blocks must match it, as must the final medium that is to be printed on.

ADVANCE PREPARATION: Have each student make a photocopy of each of their tracing sheets and save for the following lesson – if all goes well, this can be stuck in their sketch books as draft work, but if the printing block preparation next lesson goes awry, students may need the backup copies of their images to make the printing block with. If print costs or copier access is an issue, it is suggested that a copy of each sheet is scanned and saved as a PDF file, for ease of printing if extra copies are

Tracing paper

Pencils

Coloured pencils/felt tip pens

required next lesson.

LA: Create a representational image and simplify it using no more than two/three colours.MA: Create a representational image and simplify it using no more than three/four colours.HA: Create a representational image and simplify it using no more than three/four colours; explain what the image represents.

Wk 5.3 - Pop Art Prep: Creating a print template

Prepare the printing blocks ready for printing the final piece next lesson. It may be useful to view Res.1, but remind students that they are making multiple print blocks, one for each coloured section, not just one print block with all the raised relief pieces stuck on. Students should cut out the coloured section from each of their traced image sheets, then trace around the coloured sections onto a piece of thick card: try not to cut through the image, as students will need to preserve the rest of the traced image for each sheet to create the print block.Cut out the outlines of the coloured sections and set aside for now. Glue the preserved tracing sheets onto a piece of thick card – there should be a gap where the coloured section as cut out. Over the gap, stick the piece of thick cardboard which was cut out to correspond with the coloured section for that sheet – students should have a print block for each of their chosen colours, i.e. if three colours were used, they should have three print blocks, each with a different raised section attached.Leave to dry until next lesson.NOTE: it may take some practice to correctly prepare the print blocks – it is advisable to have plenty of pieces of cardboard spare, and use the spare copies of the tracing sheets prepared last lesson if necessary.

LA: Cut out and prepare print blocks for each of the colours in a chosen design.MA: Cut out and prepare print blocks for each of the colours in a chosen design, with some accuracy of alignment for some of the relief sections.HA: Cut out and prepare print blocks for each of the colours in a chosen design, with a high level of accuracy of alignment for each of the relief sections.

Res.1 – ‘Collagraph’ (2:19) - https://www.youtube.com/watch?v=SaSKKg-igNU

Thick cardboard

Glue

Traced image sheets (spares prepared last lesson)

Wk 5.4 - Pop Art: Printing

Use the prepared print blocks and designs from previous lessons to create a final Pop Art piece. Place some printing ink in a tray – a plastic drawer is ideal for this, and be relatively sparing with the ink. Use a clean drawer and roller for each colour. Roll the roller in the ink until it is covered, then apply to the raised relief sections of one of the print blocks. Line the print block up with a piece of paper the same size as the block (to make aligning the sections easier – see sizing notes in Wk 5.2). HA students may like to experiment with fabric or other mediums once the basic print has been mastered. Press firmly onto the paper – students may use a clean roller applied over the print block to aid with the impression.Students should repeat the process with each of their colours and corresponding print blocks, making sure to carefully align the print block and paper each time. Once the initial piece has been printed, possible variations might be experiments with different colours, printing over the top of, or around the edges of, the first piece, printed images which have been deliberately misaligned.Discuss with the students how Andy Warhol’s factory imitated the supermarket factory production/mass manufacturing process and the printing press of the newspapers and magazines. How did the process of producing their images compare with this? Could they repeat their images again? Could they mass-produce their images? Discuss the possible impact of mass production on the images as pieces of art.Teacher may wish to use selected clips from Res.1 as an examination of Warhol and his work, to further inform or develop any discussion.

LA: Produce a simple Pop Art-style image using printing blocks.MA: Produce a more detailed Pop Art-style image using printing blocks.HA: Confidently experiment with Pop Art-style images using a range of media or techniques.

Block printing materials - inks, rollers, aprons

Res.1 – ‘Andy Warhol - The Complete Picture’ (2:56:52) - https://www.youtube.com/watch?v=KnhqRiJ4KH8

Wk 5.5 – Stencil Printing – Creating a stencil

Explore the technique of stencilling. Students will need some simple images to work with for this – it is possible to reuse the images from the printing lessons, or select new images, possibly themed with guidance from the teacher. Students should choose the shape they wish to work with – use the resource videos to help with this. Res.1 demonstrates making a stencil

Paint, in a range of colours

Aprons

Card

with a very simple shape; Res.2 shows more complex shapes and paint techniques; Res.3 shows examples of patterned stencils using other media as well as paint to create texture; Res.4 is a range of stencil outlines which can be used or adapted. If printing out a shape, glue it onto cardboard; if drawing the shape by hand, it can be done directly onto a piece of card, although it may be advisable to draw onto paper and then glue onto card in case of error. Once the shape is on card, place the card on a cutting mat and use a craft knife to carefully excise the shape from the card – if knives are not possible, scissors may be used but this will make it very difficult to use anything other than very simple shape, and this should be considered when guiding students towards their choice of image. When the image has been cut out, it should be reserved for later development of the work.Students will need a piece of sponge (close-textured sponges work better for the initial print; open-texture bath sponges will produce a different texture/print) and a small amount of paint in a tray (acrylic works well, but will stain – washable/water-based paints may also be used). Place the stencil over the surface to be printed on; secure if necessary with paperclips or blu-tack to keep it in the same place. Dab the sponge in the paint and then apply over the cut-out in the stencil. Dabbing will produce different results to sweeping the sponge over as if it were a brush; students should experiment with a range of application techniques to develop their work.Once the print has been completed, students may wish to move the stencil around on the print surface and make more shapes – be aware of wet paint under the stencil when doing this however.For this lesson, it is advisable to use one colour for the stencils; the work will be developed with other colours next lesson.

LA: Create a stencil for printing using a simple shape.MA: Create a stencil for printing using an image which consists of more than one piece.HA: Create a stencil for printing using a complex image, considering how the piece will be sectioned so it forms an overall image.

Scissors or craft knives/Stanley knives

Cutting mat if knives are used

Printing sponges

Res.1 – ‘How to make stencils (easy)’ (2:56) - https://www.youtube.com/watch?v=PAaz_2Wp_e0

Res.2 – ‘How to create a stencil OF ANYTHING’ (4:06 – watch to 3:50) - https://www.youtube.com/watch?v=BzQ38ER3aSg

Res.3 – ‘Easy and quick rangoli designs with rangoli stencils | Simple ways to make rangoli stencils’ (33:02) - https://www.youtube.com/watch?v=z4wGyx3Jh4M

Res.4 – stencil images.docx (in Resources folder, Cycle 1, HT5)

Wk 5.6 – For the final lesson, students should experiment with a range of Paint, in a range of colours

Developing a stencilled print

techniques and colours to produce a stencil print piece. The work from last lesson can be developed by adding layers of colour, or different textures. To develop texture, students could use cloths (tightly or loosely scrunched) to print, or other items they might find. A little sand mixed with PVA and paint will produce a gritty texture, or sand/biodegradable glitter can be applied using PVA and the stencil (revisit Wk 5.5, Res.2/3 for ideas).MA/HA students may also wish to make new stencils to overlay and create a more complex image, and students can share/swap stencils if they wish. They could also work in pairs/small groups to create a large print, using a range of techniques for effect.When the images are complete, students should evaluate their work. Use a class discussion to share feedback: topics for consideration might be:

- Comparing both methods (print blocks and stencils), which works best? Why?

- What are the advantages/disadvantages of each method? Students should consider design briefs – can these methods be used for mass-production (Warhol’s art) or are they more suited to individual pieces?

- How might these be applied in the ‘real world’? Could you use these for decorating a home, for example, or a public space?

LA: Develop a stencilled print image using more than one colour.MA: Develop a stencilled print image using more than one shape and colour.HA: Develop a stencilled print image using a range of colours, shapes and textures.

Aprons

Card

Scissors or craft knives/Stanley knives

Cutting mat if knives are used

Printing sponges

Term: Y9 Summer 2 Theme: THE FINAL SOLUTION – Fashion as an expression of identity.

Wk 6.1-Introduction to Fashion

Generating Ideas gather and assemble suitable information and visual resources to inform their designing for a purpose;

IntroductionLook at pictures of a person when they change the way they look, discuss the effect this has on the person and the effect on people who see them.Pose the question ‘What is fashion, and what purpose does it serve?’Students should answer the question by selecting images to put in their

Generating Ideas work purposefully in response to a visual or tactile stimulus incorporating ideas from their study of artists, designers and the products of other cultures.

sketchbook to annotate. Ie ,this picture of a person dressed for a job interview shows that they look smart and are not outrageous. This picture of a person with pink hair and bright coloured clothes shows that they don’t want to blend in with everyone else, they want everyone to know they are different and they have a style of their own which they enjoy wearing.

HA should include a famous artist such as a designer featured in London Fashion Week, or an outrageous pop artist like Lady Gaga.

Wk 6.2-Fashion as an expression of your identity- design your own look

Generating Ideas carefully use a basic range of fine and broad drawing materials and techniques to record with some accuracy of line, shape, tone, colour, scale and proportion from observation and imagination;

Your own favourite lookGive students a template of a body and have them draw on their own favourite outfit. They should annotate the important features ie branding, colour, shape etc. And then consider why these features are important to them, and how would they feel without those features?

Wk 6.3-Elizabethan fashion and the creating of different classes through costume design

Generating Ideas complete design studies for 2D, 3D and craft outcomes, including research, observed studies, and visualisations;

Knowledge how to apply their experience of drawing, painting, printing, tactile and constructed processes/techniques, selecting suitable tools to enable them to design and make art works;

Elizabethan fashion.Students should look at Elizabethan fashion and appreciate that this was a time when fashion was elaborate and had great meaning. They could sketch and annotate the main features. They could consider this statement: ‘It was essential that the Queen’s subjects should know their place, and dress accordingly, so that no one could be misled.’ And could connect this to the separation emphasised by the black Nazi uniforms and striped prisoner uniforms.Task: You are a costume designer on a film set. Can you design two costumes, one which gives the impression of a person who is of far lower status than the other? They could be of modern day or of a previous era, the only challenge is that the two outfits convey different status/ class. They might consider rich celebrities to be of higher status, or royalty, or the very well educated.They could include only sketches, or might choose to include fabric

swatches and/ or a mood board.

Wk 6.4Design for a screen print

Generating Ideas gather and assemble suitable information and visual resources to inform their designing for a purpose;

Knowledge about the codes and conventions that define the different creative forms in art, craft and design so they can research, plan and develop several interpretations and designs;

Screen print for clothes. Students should design an image for a screen print. They should understand that this is the usual process by which clothes today are printed. They should consider printed images on clothes and collect some examples which inspire them, ie t-shirt images, placing them in sketchbooks. The teacher might remind them of how a stencil works, in regard to the necessity of it staying in one piece when you cut out the areas where the ink will go.Students then design their own image for printing, ie a rottwieller’s head, a shoe print, a flower, pouting lips. It may be a logo.

HA will create more than one initial design, possibly as several thumbnails, and use this to then create one final and well thought out design.

If screen printing equipment is not available, students could do a lino print or a block print using stencil and sponge

Wk 6.5-Printing

Making work safely and as part of a team, with an understanding of process and the actions required to successfully follow each technique to improve and produce good quality outcomes;

Students should prepare their stencil for print. Simplify the design if necessary, and cut it out. Some students may print this lesson, some may not be ready until next lesson. It’s likely they won’t have screen printed before, so a demonstration may be required, and they might print best in pairs, so that they can support each other with holding down equipment etc.Printing on fabric may be preferential, to feel like they are printing clothes, but paper will do.

Wk 6.6-Revise and evaluate

Evaluating use the specialist language of discourse to express views and interpretations, drawing on their understanding of the creative works they study

Evaluation.What have we learned about the importance and the effects of fashion? - Answer may be one or two sentences in sketchbook, or may be annotated images, it could be a group discussion.Evaluate peers and own screen prints, using the knowledge acquired throughout the project. Ie, the assumptions the wearer may be perceived

using spoken and written forms.

as, a rottweiler’s head might suggest they are violent/ aggressive or want to be feared, the colours used might make the impression even bolder or more aggressive.