Course Profile   Visual Arts, Grade 9 open, Public

 

Unit 1

 

Course Profiles are professional development materials designed to help teachers implement the new Grade 9 secondary school curriculum.  These materials were created by writing partnerships of school boards and subject associations.  The development of these resources was funded by the Ontario Ministry of Education and Training.  This document reflects the views of the developers and not necessarily those of the Ministry.  Permission is given to reproduce these materials for any purpose except profit.  Teachers are also encouraged to amend, revise, edit, cut, paste, and otherwise adapt this material for educational purposes.

 

Any references in this document to particular commercial resources, learning materials, equipment, or technology reflect only the opinions of the writers of this sample Course Profile, and do not reflect any official endorsement by the Ministry of Education and Training or by the Partnership of School Boards that supported the production of the document.

 

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Acknowledgments

 

Public District School Board Writing Team - Visual Arts

 

Lead Board

 

Upper Canada District School Board                 

Management Team:       Eleanor Newman                     

                                    Brenda King                            

                                    Dorothy Stewart

                                    Dona Cruickshank                    

 

Course Profile Writing Team                              Co-ordinating Partners

 

Susan Jones, Durham DSB                                Andy Ringlet, Renfrew County DSB

Bob Phillips, OISE University of Toronto            Marg Stewart, Limestone DSB

Don Marshall, Halton DSB                                Helen Beck, Hastings & Prince Edward DSB

Jan Tulloch, Halton DSB                                    Kit Rankin, Halton DSB

Alan R. Wilkinson, Limestone DSB                    Anne Clifton, Halton DSB

 

Unit #1 : The Need To Create

 

Activity 1 | Activity 2 | Activity 3 | Activity 4

 

Time: 22.5 hours

 

Unit Developers:

            Susan Jones, Don Marshall, Bob Phillips, Janice Tulloch, Alan Wilkinson

 

Development Date: April, 1999

 

Unit Description

This is the first of five units for the grade nine course of studies.  The following chart illustrates how this unit develops the strands outlined in the Ontario Curriculum, The Arts, grades 9 and 10, 1999, utilizes the resource journal throughout the unit, addresses three essential questions for teachers to address in lessons, suggest assessment and evaluation strategies, and outlines the activities for the unit.

 

 

UNIT 1: The Need to Create

22.5 hours

Content Focus

Analysis:      discussion of the essential questions, recording information,                    drawing, observation

Creation:      drawing, ceramic sculpture

Theory:        explore Canadian Regionalism, deconstruct symbols, learn                    about design elements and principles, view and discuss                    Prehistoric art

Resource Journal

Reflection about aesthetics; planning; data collection; note taking; drawing; research about artists; research about techniques

Essential Questions

•  Why does art matter? (reflection)

•  What is art for? (production)

•     Where does art come from? (context)

Assessment Strategies

(observable data)

•     Checklists, anecdotals, attendance and lates, work habits, critiques -       see Appendix E

Evaluation Strategies

(assigned marks)

•   Scoring rubrics and scales, exams, etc. - see Appendix E

Activities

•     Activity 1: Time Capsule (6 hours)

•     Activity 2: A simple clay object (3.5 hours)

•     Activity 3: Investigating Artifacts (4 hours)

•     Activity 4: Grotesque Goblet (9 hours)

 

Strands & Expectations

 

                Strands:           Theory, Creation, Analysis.

               

                Overall Expectations:            VCV.01X-4X; VAV.01X-3X; VTV.01X-4X

           

            Specific Expectations:            VA1.01X-4X; VT1.01X-2X; VT2.01X-3X; VT3.01X-4X;  

                                                            VC1.01X-3X;  VC2.01X-6X; VC3.01X-3X

 

Unit Planning Notes

 

•     The Resource Journal should be introduced as a vital visual, thinking, planning and drawing component of this course, and is a resource that will continue to be important throughout the student’s high school career as an artist. See Appendix B.

•     Early planning and acquisition of quality slides and/or reproductions are suggested as the variety of images used in lessons has a significant impact on the success of an activity.

•   The units and the activities in this course are sequenced so that student learning can be maximized.

•   Teachers will need to plan lessons sequentially so that smooth transitions can be made, connecting one activity to the next.

•   Lessons need to be tailored to meet the needs of individual students within a class.

•   Find a prominent place in the classroom to post the three essential questions so that teachers can easily refer to these questions throughout the unit.

 

Prior Knowledge Required

 

(from: The Ontario Curriculum, Grades 1 - 8, 1998)

Students should be able:

•     to demonstrate how the repetition of elements of design creates rhythm which unifies the composition;

•     to show how the elements of design are used to create areas of emphasis;

•     to organize the elements of design to create symmetrical and asymmetrical balance in compositions;

•     to choose which tools, materials and techniques appropriate to the size, scope and intent of an art work;

•     to organize their art works to create a specific effect using at least two of the elements of design;

•     to produce two- and three-dimensional works of art that communicate a range of thoughts, feelings, and experiences for specific purposes;

•     to describe the main idea that they wish to communicate and the decisions that they have made to support that message;

•     to identify strengths and areas for improvement in their own work and that of others;

•     to describe how artists representing various periods, styles and cultures have used similar materials, tools and principles of design for a variety of purposes;

•     to explain how the effective use of the elements and principles of design contributes to an art work’s ability to communicate feelings, convey ideas and enrich people’s lives;

•     to explain their preference for specific art works, with reference to the artist’s use of the principles of design and their understanding of the ideas and feelings expressed in the work.

 

Teaching/Learning Strategies

 

The Teacher will make the following considerations in teaching and learning strategies:

•     be mindful that The Time Capsule project provides the first contact that a student has with secondary level visual arts;

•     take extra care in establishing creative, inclusive, and welcoming protocols in the classroom,

•     model behaviours that allow students to be artists;

•     model that being an artist is a fundamental human response to the world that is based on thinking, feeling, and expression;

•     model for students, that art is not an elitist activity based on talent or secret codes;

•     give clear expectations that communicate what a student’s personal best effort can be, the importance of homework, and the need to respond thoughtfully to design challenges;

•     display student work in the classroom to help build a sense of belonging and pride in effort;

•     address different student learning styles through the lessons taught, so that student learning can be maximized;

•     use a variety of teaching strategies; (See Appendix D)

•     take opportunities to make career connections to the context of the unit;

•     allow for the development of the student portfolio; (See Appendix C)

•     take into account, individual student needs in the planning of lessons; (See Appendix I).

•     incorporate critical thinking skills into lessons. (See Appendices F, G, H, J, K)

 

Assessment/Evaluation

 

•     Time Capsule drawing should be assessed with an unsatisfactory/satisfactory scale to ensure early validation of student work - no mark assigned.  This assignment serves as a diagnostic instrument for assessing previously learned drawing skills.

•     Critiques, and display of Time Capsule drawing should take place.

•     Bi-weekly written feedback from the teacher to students regarding the Resource Journal should take place. See Appendix B.

•     See the list of questions in Appendix L as a tool for looking at objects.  This assignment serves as a diagnostic instrument for assessing student writing competency.

•     A four level achievement rubric for a Simple Clay Object activity can be used. Marks can be assigned.  See Appendix M for a sample rubric.

•     Appendix M is a sample of a four level achievement rubric for the Grotesque Goblet. The following features are evaluated: drawing and preparatory studies, expression of the grotesque, structural integrity, originality/personal expression.

 

 

Activity #1 : Time Capsule

 

Time:             6 hours

 

Description

 

Students will examine and discuss personal items, art reproductions, and the production of art work, to gain an understanding of where art comes from and why art matters.  Students will exhibit their work and they will discuss the purpose and range of work displayed. An understanding of the concept of the art exhibition will develop through critiques and activities developed around critical thinking.

 

Strands and Expectations

 

            Strands:  Theory, Creation, Analysis

                  

            Overall Expectations

            At the end of grade 9, students will:        VCV.01X-4X; VAV.01X-3X; VTV.01X-4X

           

            Specific Expectations:           

            Students will:     VA1.01X-4X; VT1.01X-2X; VT2.01X-3X; VT3.01X-4X; VC1.01X-3X; VC2.01X-6X; VC3.01X-3X

 

Planning Notes

 

•     The teacher may modify activities according to the level of readiness and ability of the students.

•     Visual resources should include images that demonstrate a variety of art styles and periods.  These can be in the form of art postcards, fine art calendars, textbook illustrations, overheads, slides, the Internet, or CD ROMs.

•     This may be the first experience with studio in art for some students since the previous year.  Practice drawing techniques are designed to help students see things as a whole, rather than aiming for technical mastery.

•     Teachers should have a variety of objects for still life drawing available in the room.  Students can also bring in significant objects that go beyond plants and vases.

•     Drawings can be done on the computer after more traditional practice and can then compared (suitability in capturing likeness, style, mood etc.)

•     Ensure that the three essential questions are posted in the classroom, for easy access while teaching.

 

Prior Knowledge Required

 

See unit overview.

 

Teaching/Learning Strategies

 

1.   (1 hour).  A Time Capsule is a container for preserving records and artifacts of the life of an

      era, deposited for study by people in the future.  For the purpose of this unit, the selection and

      storage of images to be considered at a later date can be simulated using the initial drawings that

      students do in this unit.  The teacher should collect samples of student art work and store them

      away until the conclusion of the course, when they are all re-examined by their creators.

      Students can compare these earlier drawings to their subsequent work in order to see personal skill

      development and growing sophistication in their use of subject matter and creative thinking.  Of

      course, this approach is directly connected to portfolio assessment practice.  See Appendix C.

 

      (a)  Ask students to think of three personal belongings they would place in a time capsule that

            would reflect life as they know it. Have them explain their choices.

 

      (b)  Have students work in pairs with selected reproductions of artworks and ask them to choose

            three works that they would include in the time capsule, using similar criteria as above. Have

            each pair share their deliberations with the class.

 

      (c)  Students, with the assistance of the teacher, must group and categorize the chosen

            reproductions (i.e. referring to design elements or principles, subject matter, style etc.) This

            will get students analyzing artworks  and developing criteria for critical thinking  in art. See

            Appendix H.

 

      (d)  Extensions:  Teachers may design a lesson to make the connection between this grouping

            activity, and jobs in an art gallery or museum. The occupations of curator and exhibition

            preparatory could be examined.

 

      (e)  As curators of their own time capsule, students will be asked to draw a personal item to

            include in the time capsule. (See subsequent drawings’ activities 2 and 3).

 

2.   Studio: Drawings from Objects (“Not-so-Still Life”) (2 hours)

“To understand the fascination that objects have had for the [artist], it helps to examine a few of our own fundamental attitudes.  No one is neutral toward objects.  Aside from the specific function for which an object has been made, its continued use and the mind’s tendency to make analogies have often invested it with multiple associations or symbolic purpose . . . Since the objects are . . . imitations, they cannot be touched or used; we are obligated to appreciate them solely with our eyes, thus experiencing them in a new way.  Probably the first time, we become aware of an object’s colour, shape, volume, texture, and surface reflection of light - the aesthetic properties that commonly unite the interest of artist and viewer.” (Albert Elsen, Purposes of Art, p. 299)

As the above quote infers, the following activities focus on recording objects or artifacts through the medium of drawing.  Students are encouraged to sharpen their powers of perception and observation by recording things as they see them, but also are motivated to go beyond the mere imitation of appearances by drawing from their imaginations and personal experiences.

 

(a)  Contour Drawing.  (1 hour)  Drawing the surface edges, or contours, of an object is called contour drawing.  It requires close observation and concentrated focus.  Students should be familiar with this approach  from grade 8 visual arts, but a demonstration should be conducted to establish technical procedures.  Have a variety of eye-catching and unusual objects available for drawing.  After executing 1 - 2 minute warm-up gesture and structure drawings, have students do sustained contour drawings of their chosen object(s).  Design: Stress variety of line use to capture details and surface qualities.  Extend this assignment by having students use their imaginations to place the object in an unusual environment (i.e., within dense jungle growth; sitting in a gigantic hand; inside someone’s open mouth).

 

(b)  Value Drawing.  (1.5 hours)  Drawing something to look realistic uses an approach called imitationalism.  Here artists focus on the literal qualities of the objects they observe.  (Show students examples of drawings or paintings by Canadian artists Ken Danby, Alex Colville, Jack Chambers, Mary Pratt or John Hall.)  They do this by carefully imitating the proportions and light-reflecting qualities of objects.

 

Review techniques for creating values (highlights, middle tones, shadows, hatching, shading) and creating tonal gradation in drawings, as well as appropriate choices of media (2B pencils versus HB).  Remind students about beginning with a light, simplified underdrawing to assist with placement of shapes and definition of structure.  Design: emphasize the use of values in defining form and surface qualities.  Allow students to select another object as their subject matter.  Have them render this object, paying particular attention to the imitation of appearances.  However, allow them to use their imaginations in order to show this object in a “new” or unique way.  Some suggestions are:

•     draw the object so that its size and shape are contrary to the orientation of the paper (e.g. vertical subject on a horizontal sheet of paper)

•     two popcorn kernels magnified so they occupy the entire sheet of paper (in charcoal)

•     repeat the same object on the paper, but viewed from different perspectives

•     wrap the object in tissue paper or cotton fabric and draw it that way

•     cover the entire sheet of paper with charcoal and draw with an eraser, revealing the lighter values of the paper underneath

•     use vivid colour behind the object to make it “pop out” of the foreground

Students can produce rough sketches in their journals, experimenting with various viewpoints, placements, and light sources.  Do the final version on cartridge paper in their choice of medium.

 

(c)  Resource Journal.  Have students do a drawing of an object at home using any technique (contour or value study) or drawing medium (pencil, charcoal, coloured pencil, computer).  This drawing will later be included in the class time capsule.

 

3.   Wrap-Up & Critique.  (.5 hours)  Organize a class critique of the selected time capsule drawings; display one drawing for everyone in the room.  Students explain their choice of subject matter, medium, and technique; the class discussion involves comparing works by looking at individual drawing styles or by analyzing the different perspectives and viewpoints taken by individuals.  The purpose of a critique in grade 9 is to highlight the positive accomplishments of individuals and indicate instances of developing skills.  The critique should not be used as a forum to insult, belittle or point out weaknesses in any one person’s work.  The teacher should endeavor to build self-esteem and pride in accomplishment.

Drawings can be hung as an exhibition and later included in the time capsule.  The teacher can help students understand the purpose and range of an art exhibition.  Some suggestions for the time capsule: it can be buried; added to a larger school-wide project; opened upon high school graduation; etc.  Get student input about what they would like to do with this project.

 

Accommodations

 

•     Pair or group students to assist with tasks.

•     Review an outline for elements and principles of design.

•     Use a tape recorder or computer as an alternative to written responses.

•     Structure the drawing choices so that there are fewer decisions to make for those students who have problems with making decisions.

•     See Appendix I.

 

Assessment/Evaluation

 

•     Contour and tonal drawings can be assessed using the following categories: unsatisfactory, satisfactory or by using four levels of achievement, on a simple rubric.

•     Positive feedback is critical in this introductory unit.

•     Drawings produced should be included in a student portfolio. (Originals are kept and copies are placed in the time capsule).

•     Criteria for the Time Capsule Drawing should be designed by the teachers and students.

•     Criteria needs to be designed for choosing time capsule contents (first unit activity).

 

Health and Safety

 

•    Students with respiratory problems should avoid using charcoal.

•     Charcoal should be wrapped with paper towel for students with skin allergies.

•     Students using a computer for drawing should assume proper sitting position and proper distance from the monitor.

 

Resources

 

Borgeson, Bet.  The Coloured Pencil.  New York: Watson Guptill (1983) ISBN 0-8230-0742-1