Course Profiles
Catholic District School Board Writing Partnership
Course Profile
Visual Arts
Grade 10
Open
• for teachers by teachers
This sample course of study was prepared for teachers to use in meeting local classroom
needs, as appropriate. This is not a mandated approach to the teaching of the course.
It may be used in its entirety, in part, or adapted.
April 2000
Course Profiles are professional development materials designed to help teachers implement the new
Grade 10 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. 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 or by the Partnership of School Boards that supported
the production of the document.
© Queen’s Printer for Ontario, 2000
Acknowledgments
Catholic District School Board Writing Teams – Visual Arts
Lead Board
Toronto Catholic District School Board
Ann Perron, Project Manager
Course Profile Writing Team
Ann Perron (lead writer), Toronto Catholic District School Board
Darlyn Burroughs, Brant Haldimand-Norfolk Catholic District School Board
Joan McGivney, Toronto Catholic District School Board
Kitty Strite-Gatto, Waterloo Catholic District School Board
Anne Schnurr, Wellington Catholic District School Board
Nancy Valerio, Toronto Catholic District School Board
Internal Review Team
Andrew Boyd, Toronto Catholic District School Board
Teresa Santoro, Toronto Catholic District School Board
Linda Girard, Ottawa-Carleton Catholic District School Board
Anapaula DaCosta, Publications Department, Toronto Catholic District School Board
The developers are appreciative of the suggestions and comments from teachers who worked through
The Ontario Curriculum Clearinghouse. The writing team is appreciative of the many individuals from
our respective school boards who provided support that allowed us to meet our objectives.
We also appreciate the leadership and the central role the following organizations played in the coordination of Catholic Profiles for Catholic teachers in Ontario:
Central Catholic Cooperative of Central and Western Ontario (CCC)
Catholic Curriculum Cooperative of Central Ontario (CCCC)
Institute for Catholic Education (ICE)
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Course Overview
Visual Arts, Grade 10
Identifying Information
Course Type: Open
Ministry Course Code: AVI2O
Credit Value: 1
Course Developers: Ann Perron, Darlyn Burroughs, Joan McGivney, Kitty Strite-Gatto, Anne
Schnurr, Nancy Valerio
Development Date: February 2000
Description/Rationale
This comprehensive course emphasizes learning through practice, building on what students know, and
introducing them to new ideas, materials, and processes for artistic thinking and experimentation. Student
learning will include the refined application of the elements and principles of design, incorporating the
creative and design processes, and the relationship between form and content. Connections will be made
among art forms, personal expression, and aesthetics. Students will also focus on various disciplines
within the art forms of crafts, design, fine arts, and the media arts. Career exploration, materials, tools,
and technique will be involved throughout all units of study. Students will be able to describe the
characteristics of a historical stylistic movement in Canadian art and a mid-segment of the Western art
history timeline.
How This Course Supports the Ontario Catholic School Graduate Expectations
The focus of this course is to frame the Visual Arts experience within the context of celebrating,
respecting, and affirming the human experience. The students will reflect upon loving relationships, selfdiscovery, and spiritual growth. Students will become increasingly aware how powerful the Visual Arts
are in our society and how individuals whose career is related to the visual arts can inspire thoughtprovoking images of a world view. Students will strive for excellence, originality, and integrity in their
own artwork while supporting these qualities in the work of others. Essential life skills such as
perseverance, discipline, commitment, and teamwork will be the binding characteristics of this course.
Unit Titles (Time + Sequence)
Unit 1
Unit 2
Unit 3
Unit 4
Unit 5
Unit 6
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But Is It Art?
Art by Design
The Art of Crafts
Fine Art – Express Yourself
Media Arts and Popular Culture
Making a Living, Making Art?
8 hours
20 hours
25 hours
25 hours
20 hours
12 hours
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Unit Organization
Unit 1: But Is It Art?
In this introductory unit students will explore and reflect upon the meaning of art in various aspects of
their lives. Questions will be posed such as: What is art? Who decides this? What determines the value of
art? Students will consider the aesthetic value and the relationship between art and society. Students will
address social and religious issues through the visual arts such as social justice, spirituality, and ethics.
Student artists will explore the various materials and tools used to create art and will consider the impact
on the value of the artwork. The drawing journal and related activities will provide the basis for further
understanding and exploration.
Ontario Catholic School Graduate Expectations: CGE1g,i, 3a,c, 4f, 5b, 7j.
Strand(s): Theory, Creation, Analysis
Overall Expectations: THV.02,03; CRV.01, 02,04; ANV.01,02,03.
Specific Expectations: TH2.02; TH3.02; CR1.02, 03; CR2.02, 03; CR3.01, 02, 03; AN1.03, 04;
AN2.01, 02, 03.
Unit 2: Art by Design
“Design is everybody’s business: we live in it; we eat in it; we pray and play in it.”
Paul Grillo, Form Function and Design, page 9.
In this unit, students will investigate several aspects of design. Initially, they will discover how the
elements and principles work together to make a good design through two-dimensional and threedimensional exercises. As well they will look at the role of design in our community and in the world by
engaging in the creation of two-dimensional and three- dimensional applied designs. The relationships
between form and function, form and content, as well as product and target audience will be discovered
as students grapple with both the practical and ethical aspects of designing for our world. Careers in
design related fields will also be explored. A variety of two-dimensional and three-dimensional materials
and tools, such as paper, paint, marker, pencils, cardboard, glue, scissors, cutting knives, etc. will be
used.
Ontario Catholic School Graduate Expectations: CGE3b, 4b, 7b,i,j.
Strand(s): Theory, Creation, Analysis
Overall Expectations: THV.01, 04; CRV.01, 02, 03; ANV.01, 02, 03.
Specific Expectations: TH1.01; TH2.03; TH3.01, 02; CR1.02; CR2.02, 03, 04; CR3.01, 02, 03;
AN1.01, 02; AN2.01.
Unit 3: The Art of Crafts
This unit respects the artistic intention and craft of the artisan. Original works in the textile arts,
(weaving, appliqué, quilting, needlepoint, fabric painting), pottery techniques, jewellery, glass,
papermaking, plaster and cement may be explored through discovery and selected activities. Teachers
will utilize Canadian artisans and their crafts as the main resource of this unit. The cottage industry (folk
home-based business) and careers in crafts from the past and the present will be investigated (e.g., The
Bayeaux Tapestry, ancient pottery, Gothic stained-glass windows).
Ontario Catholic School Graduate Expectations: CGE2b, 3a,e, 4b, 5g, 7i.
Strand(s): Theory, Creation, Analysis
Overall Expectations: THV.01,03,04; CRV.01,02,03,04; ANV.01,02,03.
Specific Expectations: TH1.01, 02; TH2.01, 02; CR1.01, 02; CR2.01, 02; CR3.01, 02, 03; AN1.01, 03;
AN2.01.
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Unit 4: Fine Art – Express Yourself
In this unit the student will consider important relationships they have in their lives. They will explore
and create images through two major works of art, one in two dimensions and one in three dimensions,
using traditional and non-traditional materials. The students will extend the expressive possibilities of the
elements and principles of design. Preliminary drawings and exploration of mediums will serve as the
foundation for the finished products.
Ontario Catholic School Graduate Expectations: CGE3a,c,e 4a, 5g, 6a,c, 7i.
Strand(s): Theory, Creation, Analysis
Overall Expectations: THV.03; CRV.01, 02, 03; ANV.01, 02, 03.
Specific Expectations: TH2.01,02; TH3.01, 02; CR1.01, 02; CR2.01, 02, 03; CR3.01, 02, 03; AN1.02,
03, 04; AN2.01, 02, 03.
Unit 5: Media Arts and Popular Culture
Students will investigate the codes and conventions (e.g., camera angles, colour, text, sound, stereotypes,
etc.) used to manipulate target audiences of popular culture. The students will look at a variety of
commercial products such as music videos, fashion, toys, etc. and determine how each popular culture
product is constructed to convey a certain message or to elicit a particular response from its audience.
Discovery and studio activities will give students the opportunity to examine the specific impact of
various constructed media and to create their own media texts.
Ontario Catholic School Graduate Expectations: CGE1d, 2e, 3e, 7b,i.
Strand(s): Theory, Creation, Analysis
Overall Expectations: THV.01; CRV.01, 03, 04; ANV.01, 02, 03.
Specific Expectations: TH1.01, 02; TH2.03; CR1.01, 02; CR2.01, 02, 03, 04; CR3.01, 02, 03; AN1.04;
AN2.02, 03.
Unit 6: Making a Living, Making Art?
Students will consider many of the careers in the arts discussed throughout the course. They will select
careers that appeal to them and conduct research using the Internet, local artists, or the print media. This
culminating unit will involve a formal presentation to classmates and/or a school display. Visual images,
artist samples and/or examples will be included in the presentation. As part of the presentation the
students may create a culminating piece (their choice) using a technique, and/or medium they have
learned while studying the career (e.g., a poster advertising the sale of glass bowl or creation of Fimo
jewellery, medical illustrations, etc.).
Ontario Catholic School Graduate Expectations: CGE1g, 2c, 4f,g, 5b,d,g,h, 7j.
Strand(s): Theory, Creation, Analysis
Overall Expectations: THV.04; CRV.01, 04; ANV.01, 03.
Specific Expectations: TH1.02; TH2.01; TH3.01, 02, 03, 04; CR1.02, 03; CR2.02, 03, 04; CR3.01, 02,
03; AN2.03.
Course Notes
The underlying continuum of the Grade 10 Visual Arts expectations is the emerging awareness of
possible careers in the visual arts. The drawing journal and portfolio continue to be invaluable resource
tools for the student artist as this course encourages exploration of a variety of art-making and artviewing techniques. A teacher directed time-line will be developed throughout the course to help students
understand the historical significance of the works of art they view, research, and use as inspiration.
Whenever possible teachers should draw on local expertise to complement and enhance studio
activities/discussions to give students post-secondary academic and career options in the visual arts.
From Grade 10, students’ Annual Education Plan should also include their tentative postsecondary
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destinations. This course may assist students in completing their plan while learning about possible
options and choices, and the impact of their decisions on their educational and career goals. All students
should be encouraged to develop and maintain a portfolio. Students will continue to refine their artistic
skills, accumulate knowledge and experience new art-making processes. The WHMIS Safety Manual
located in the school will provide information for the safe disposal of materials and is a must for art
educators. The appropriate clean up, disposal, and use of art materials must be integrated into the process
aspect of evaluation whenever possible. Responsibility, respect for materials and each other are part of
the goal we envision for the Ontario Catholic School Graduate.
Teaching/Learning Strategies
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brainstorming;
conference;
interviewing;
independent research (e.g., students explore and research a specific topic related to art history, art
processes, and careers);
application (creation of an artwork to demonstrate a specific function, portray a design concept, or
communicate personal expression);
presentation, ongoing oral, visual, and written presentation;
viewing artwork, present art visuals to focus discussion regarding subject matter, content, use of the
elements and principles of design, cultural influences, and styles;
group display of art timelines;
critiques, critical analysis of student, peer, historical, and contemporary artwork;
exploration, experimentation with a variety of materials and techniques;
drawing journal/information file, collection of visual and written information for art-making,
research and experimentation;
display, refinement and preparation of work for formal public display;
portfolio, a collection of student works reflecting skills, knowledge, and understanding accumulated
throughout the year/semester.
Assessment/Evaluation Techniques
The assessment plan will include the following:
Personal Communication
• drawing journal/portfolio;
• self/peer assessment;
• student-teacher conferences;
• ongoing verbal feedback;
• critique (record reflections on experiences, plans for improvements, recommendations for changes).
Teacher Observation
• formal/informal.
Performance Assessment
• research project assigned artwork;
• assigned artwork;
• portfolio entries;
• drawing journal;
• presentation.
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Assessment Tools will include:
• checklists;
• marking schemes;
• rubrics;
• anecdotal comments with suggestions for improvements.
Final Evaluations
• paper and pencil tests, quizzes;
• portfolio presentations;
• student art show;
• formal presentations;
• conferencing.
Accommodation
• working with a partner, peer helper
• ongoing feedback
• use of computers, Internet
• in art history and viewing activities, oral responses for testing, taped if necessary
• additional time
• use of scribe/translator
• use of specialized tools, materials
• modifications of expectations, IEP; Individual Education Plan
• offering alternative assignments
• extra time for assignments, both gifted and learning-disabled students
Special Note
Teachers using the course profiles are expected to be acquainted with students’ Individual Education
Plans (IEPs) and the unique learning characteristics of their individual students and to make the
necessary accommodations.
Resources
Books
Clark, Roger. An Introduction to Art Education. London: Plan B Books, 1998.
Cornstock, Charles W. How to Organize and Manage Your Art Room. Portland: J. Weston Welch
Publisher, 1995.
Duncan, Barry, et al. Mass Media and Popular Culture. Toronto: Harcourt Brace and Company, 1997.
ISBN 0774701706
Edwards, Betty. Drawing on the Right Side of the Brain. Los Angeles, California: Jeremy P. Tarcher Inc.,
1989. ISBN 0874775132
Henley, David R. Exceptional Children Exceptional Art Teaching Art to Special Needs. Worcester, Mass:
Davis Publications, 1992.
Hume, Helen D. A Survival Kit for the Secondary School Art Teacher. West Nyack, NY: The Center for
Applied Research in Education, 1990. ISBN 0-87628-798-4
Janson, H.W. and Janson A.F. A Basic History of Art. Toronto: Prentice Hall Canada Inc. 1997.
Kaupelis, Robert. Experimental Drawing. Watson-Guptill Publication, Inc., 1992. ISBN 0823016226
MacGregor, R., H. Constance, B. Bennett, and A. Calver. Canadian Art, Building A Heritage.
Scarborough: Prentice-Hall, 1987.
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Mayer, Ralph. The Artist's Handbook of Materials and Techniques. New York: Viking, 1985.
Mayer, Ralph. Artist's Manual: A Complete Guide to Painting and Drawing Materials and Techniques.
Harper Collins, 1995.
Reid, Dennis. A Concise History of Canadian Painting, 2nd ed. Toronto: Oxford University Press, 1988.
Schuman, Jo. Art From Many Hands, Multicultural Art Projects. Worcester, Mass: Davis Publications,
1981. ISBN 0871921502
Walker, Don. Teaching Ideas for Media Literacy. Toronto: TCDSB, 1998.
Stewart, Marilyn. Thinking Through Aesthetics (series). Worcester, Mass: Davis Publications, 1997.
ISBN 0 87 1923637
CD-ROMs
Arts in the Classroom, A Teacher’s CD-ROM Resource. Toronto: TCDSB/CCC, 1998.
Web Sites
www.artednet.getty.edu
Career Gateway
www.edu.gov.on.ca
OSS Policy Applications
Any resources that support anti-discrimination education, violence prevention, equity/social justice
issues, career goals/co-operative education, community partnerships, and faith development will support
many of the Ontario Secondary School Policies as well as the Ontario Catholic School Graduate
Expectations. This course is designed for teachers to make any important social issue a basis for
exploration in the arts.
Teachers will be familiar with Ontario Secondary Schools, Grades 9-12, Program and Diploma
Requirements, 1999. The visual arts course of study should allow for all students to succeed. Activities
should be open ended enough to provide for all levels of achievement. Modifying Curriculum
Expectations as well as Alternative Curriculum Expectations may be planned to assist individual
students. A focus on job shadowing and career awareness is the culminating activity in Unit 6. In many
school communities, there may be an opportunity for students to research careers in the art through the
utilization of local artisans and/or through magazines and the Internet. In other cases, the work
experience will be related to Career Exploration Activities and The Annual Education Plan (Choices Into
Action, Guidance and Career Education Program Policy for Ontario Elementary and Secondary
Schools, 1999). The course is designed to be flexible and easily adapted to the needs of all learners, in all
communities. The diversity of our student body, both in terms of culture and experience, will enrich our
arts programs.
Course Evaluation
Teachers may evaluate their course through a variety of methods. For example, they may utilize a student
evaluation form to gather information on program modification for student success. The writers of this
course profile have included a wide variety of interactive strategies such as peer, self, teacher, and
community assessment. Both formative and summative methods should be used to gather information for
reporting purposes. Teachers may network with colleagues locally, from other schools and subject
associations to determine what modifications or new ideas could be incorporated into the units. Since
every teacher will approach the units in a unique way, there are ample opportunities for extensions,
modifications, and applications. The local community may have input on enhancing aspects of the visual
arts course. The opportunity for immediate input may take form in a log where visitors to a public display
comment freely.
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Evaluation of Student Achievement
The primary purpose of assessment and evaluation is to improve student learning. In order to ensure that
assessment and evaluation are valid, reliable, and equitable and that they lead to the improvement of
student learning, teachers should use assessment and evaluation strategies that:
• address both what students learn and how well they learn;
• are based on both the categories and the descriptors in the achievement levels chart;
• are varied in nature, administered over a period of time, and designed to provide opportunities for
students to demonstrate the full range of their learning;
• are appropriate for the learning activities used, the purposes of instruction, and the needs and
experiences of the students;
• are fair to the students;
• accommodate the needs of exceptional students, consistent with the strategies outlined in the
individual education plan;
• promote students’ ability to assess their own learning and to set specific goals;
• include the use of samples of students’ work that provide evidence of their achievement;
• are communicated clearly to students and parents at the beginning of the course and at other
appropriate points throughout the course.
Visual Arts, Open, Grade 10 (AVI20)
Knowledge/Skill Category Weighting
%
Course Grade Weighting
%
30
Final Evaluation
Final Evaluation
25
• portfolio presentation/log
• Knowledge/Understanding
25
• quiz/tests
• Thinking/Inquiry/Problem Solving
50
Portfolio-artwork
25
• Communication
20
Drawing
Journal
25
• Application/Making Connections
• ongoing reflection
Portfolio
100
Course Grade
20
• Knowledge/Understanding
• Thinking/Inquiry/Problem Solving
• Communication
• Application/Making Connections
Drawing Journal
• Knowledge/Understanding
• Thinking/Inquiry/Problem Solving
• Communication
• Application/Making Connections
20
20
40
25
25
20
30
Seventy per cent of the grade will be based on assessments and evaluations conducted throughout the
course. Thirty per cent of the grade will be based on a final evaluation in the form of an examination,
performance, essay, and/or other method of evaluation suitable to the course content and administered
towards the end of the course.
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Coded Expectations, Visual Arts, AVI2O
Theory
Overall Expectations
THV.01
– demonstrate an understanding of the design process;
THV.02
– differentiate historical artworks by content, theme, style, techniques, and materials;
THV.03
– explain the social and historical context and the chronology of distinctive artistic styles;
THV.04
– identify the skills required in various visual arts and art-related careers.
Specific Expectations
Design and Composition
TH1.01
– explain how compositions are altered by a change in design principles (e.g., contrast of lines versus
contrast of colour);
TH1.02
– describe the steps of the design process (i.e., specifications, research, experimentation, preliminary
sketches, prototypes, revision, presentation, reflection).
Art History and Cultural Community
TH2.01
– describe the characteristics of a historical stylistic movement in Canadian art (e.g., the art of New
France, Canadian Impressionists, Painters Eleven);
TH2.02
– demonstrate an understanding of a mid-segment of the Western art history timeline (e.g., the
Middle Ages);
TH2.03
– produce a survey of a particular subject or medium through a period of time, noting stylistic
changes (e.g., posters, photography, typography).
Personal Applications
TH3.01
– explain how they have incorporated into their studio assignments characteristic materials and
expressive qualities of artworks studied;
TH3.02
– explain how their personal artworks have been influenced by works they have viewed in galleries
and museums;
TH3.03
– research the history of an art form, craft, or area of design (e.g., stone sculpture, textile design,
pottery);
TH3.04
– describe similarities and differences between careers in design and fine art.
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Creation
Overall Expectations
CRV.01
– produce a work designed around specific objectives and challenges (e.g., composition issues,
subject matter, use of visual language);
CRV.02
– demonstrate the ability to take varied and creative approaches to using materials, tools, processes,
and technologies in studio activities;
CRV.03
– explain the importance of process in relation to the final product;
CRV.04
– use concepts of visual literacy in describing their art activities.
Specific Expectations
Perceiving and Planning
CR1.01
– use various strategies in creating images (e.g., symbolism, interpretation of same idea in both two
and three dimensions);
CR1.02
– use tools, materials, processes, and technologies safely and appropriately;
CR1.03
– use research from various sources (e.g., books, databases, conversation with local artists) as part of
the creative process.
Experimenting and Producing
CR2.01
– demonstrate the ability to solve artistic problems and make creative choices when completing
artworks that reflect their concerns;
CR2.02
– demonstrate the ability to use an increasing range of tools, materials, processes, and technologies in
producing works of fine art and applied design;
CR2.03
– execute sketches and drawings in an increasing variety of media;
CR2.04
– demonstrate ever-expanding use of technology in producing artworks.
Reviewing and Evaluating
CR3.01
– use appropriate visual arts vocabulary in describing materials and processes;
CR3.02
– develop sketchbooks, a portfolio, and/or planners that document their personal art process;
CR3.03
– demonstrate the ability to review and evaluate the creative processes they use, as well as the
resulting artworks.
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Analysis
Overall Expectations
ANV.01
– apply critical analysis processes to their artwork and works studied;
ANV.02
– identify sensory, formal, expressive, and technical qualities in their own works and works studied;
ANV.03
– describe interrelationships among art, the consumer, and the community.
Specific Expectations
Critical Process
AN1.01
– describe the stages of the design process followed in a particular assignment;
AN1.02
– analyse the formal composition of an example of artwork from personal and/or historical works
studied;
AN1.03
– explain the significant expressive qualities of a work of art with reference to a list of possible
categories (e.g., sensory, formal, expressive, technical);
AN1.04
– identify possible meanings of a work by referring to background information and specific visual
indicators.
Aesthetics
AN2.01
– explain how the formal organization of visual content (formalism) as well as the imitation of life
(imitationalism) can be used to create and think about works of art;
AN2.02
– demonstrate an understanding of the use of symbols in creative expression;
AN2.03
– describe how a culture shapes its art with reference to historical and contemporary examples (e.g.,
Byzantine icons, Chinese landscape, painting in fifteenth-century Europe, pre-Columbian pottery,
Warhol’s soup cans).
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Ontario Catholic School Graduate Expectations
The graduate is expected to be:
A Discerning Believer Formed in the Catholic Faith Community who
CGE1a
-illustrates a basic understanding of the saving story of our Christian faith;
CGE1b
-participates in the sacramental life of the church and demonstrates an understanding of the
centrality of the Eucharist to our Catholic story;
CGE1c
-actively reflects on God’s Word as communicated through the Hebrew and Christian
scriptures;
CGE1d
-develops attitudes and values founded on Catholic social teaching and acts to promote social
responsibility, human solidarity and the common good;
CGE1e
-speaks the language of life... “recognizing that life is an unearned gift and that a person
entrusted with life does not own it but that one is called to protect and cherish it.” (Witnesses
to Faith)
CGE1f
-seeks intimacy with God and celebrates communion with God, others and creation through
prayer and worship;
CGE1g
-understands that one’s purpose or call in life comes from God and strives to discern and live
out this call throughout life’s journey;
CGE1h
-respects the faith traditions, world religions and the life-journeys of all people of good will;
CGE1i
-integrates faith with life;
CGE1j
-recognizes that “sin, human weakness, conflict and forgiveness are part of the human
journey” and that the cross, the ultimate sign of forgiveness is at the heart of redemption.
(Witnesses to Faith)
An Effective Communicator who
CGE2a
-listens actively and critically to understand and learn in light of gospel values;
CGE2b
-reads, understands and uses written materials effectively;
CGE2c
-presents information and ideas clearly and honestly and with sensitivity to others;
CGE2d
-writes and speaks fluently one or both of Canada’s official languages;
CGE2e
-uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media,
technology and information systems to enhance the quality of life.
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A Reflective and Creative Thinker who
CGE3a
-recognizes there is more grace in our world than sin and that hope is essential in facing all
challenges;
CGE3b
-creates, adapts, evaluates new ideas in light of the common good;
CGE3c
-thinks reflectively and creatively to evaluate situations and solve problems;
CGE3d
-makes decisions in light of gospel values with an informed moral conscience;
CGE3e
-adopts a holistic approach to life by integrating learning from various subject areas and
experience;
CGE3f
-examines, evaluates and applies knowledge of interdependent systems (physical, political,
ethical, socio-economic and ecological) for the development of a just and compassionate
society.
A Self-Directed, Responsible, Life Long Learner who
CGE4a
-demonstrates a confident and positive sense of self and respect for the dignity and welfare of
others;
CGE4b
-demonstrates flexibility and adaptability;
CGE4c
-takes initiative and demonstrates Christian leadership;
CGE4d
-responds to, manages and constructively influences change in a discerning manner;
CGE4e
-sets appropriate goals and priorities in school, work and personal life;
CGE4f
-applies effective communication, decision-making, problem-solving, time and resource
management skills;
CGE4g
-examines and reflects on one’s personal values, abilities and aspirations influencing life’s
choices and opportunities;
CGE4h
-participates in leisure and fitness activities for a balanced and healthy lifestyle.
A Collaborative Contributor who
CGE5a
-works effectively as an interdependent team member;
CGE5b
-thinks critically about the meaning and purpose of work;
CGE5c
-develops one’s God-given potential and makes a meaningful contribution to society;
CGE5d
-finds meaning, dignity, fulfillment and vocation in work which contributes to the common
good;
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CGE5e
-respects the rights, responsibilities and contributions of self and others;
CGE5f
-exercises Christian leadership in the achievement of individual and group goals;
CGE5g
-achieves excellence, originality, and integrity in one’s own work and supports these qualities
in the work of others;
CGE5h
-applies skills for employability, self-employment and entrepreneurship relative to Christian
vocation.
A Caring Family Member who
CGE6a
-relates to family members in a loving, compassionate and respectful manner;
CGE6b
-recognizes human intimacy and sexuality as God given gifts, to be used as the creator
intended;
CGE6c
-values and honours the important role of the family in society;
CGE6d
-values and nurtures opportunities for family prayer;
CGE6e
-ministers to the family, school, parish, and wider community through service.
A Responsible Citizen who
CGE7a
-acts morally and legally as a person formed in Catholic traditions;
CGE7b
-accepts accountability for one’s own actions;
CGE7c
-seeks and grants forgiveness;
CGE7d
-promotes the sacredness of life;
CGE7e
-witnesses Catholic social teaching by promoting equality, democracy, and solidarity for a
just, peaceful and compassionate society;
CGE7f
-respects and affirms the diversity and interdependence of the world’s peoples and cultures;
CGE7g
-respects and understands the history, cultural heritage and pluralism of today’s contemporary
society;
CGE7h
-exercises the rights and responsibilities of Canadian citizenship;
CGE7i
-respects the environment and uses resources wisely;
CGE7j
-contributes to the common good
Page 15
• Visual Arts- Open
Unit 1: But Is It Art?
Time: 8 hours
Unit Description
In this introductory unit students will explore and reflect upon the meaning of art in various aspects of
their lives. Questions will be posed such as: What is art? Who decides this? What determines the value of
art? Students will consider the aesthetic value and the relationship between art and society. Students will
address social and religious issues through the visual arts such as social justice, spirituality, and ethics.
Student artists will explore the various materials and tools used to create art and will consider the impact
on the value of the artwork. The drawing journal and related activities will provide the basis for further
understanding and exploration.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations: CGE1g,i, 3a,c, 4f, 5b, 7j.
Strand(s): Theory, Creation, Analysis
Overall Expectations: THV.02, 03; CRV.01, 02, 04; ANV.01, 02, 03.
Specific Expectations: TH2.02; TH3.02; CR1.02, 03; CR2.02, 03; CR3.01, 02, 03; AN1.03, 04;
AN2.01, 02, 03.
Activity Titles (Time + Sequence)
Activity 1
Activity 2
Activity 3
What Is Art?
How Does the Artist Think?
How Does the Artist Work?
120 minutes
180 minutes
180 minutes
Prior Knowledge Required
•
•
Students will be able to explain how an artist has used the elements (the expressive qualities) and
principles of design to affect the viewer. They will support analyses with evidence from the work.
Refer to The Ontario Curriculum, Grades 1-8, The Arts, (page 44) for Grade 8 Visual Arts
expectations.
Students will be able to explain, through critical analysis, the function (e.g., political, religious,
social) of their own artworks and those of other cultures and will demonstrate an understanding of
connections between art and cultural identity or context. Refer to The Ontario Curriculum, Grade 9,
Open, Visual Arts, (page 51).
Unit Planning Notes
The teacher will:
• provide student artists with a broad range of drawing materials;
• acquire various resources such as art cards, slides, videos, CD-ROMs, etc.;
• assess prior knowledge to ensure that students are prepared to meet the expectations for this unit;
• review guidelines for constructive criticism prior to the use of peer evaluation rubric;
• facilitate the use of a drawing journal (sketchbook) and a portfolio (a folder in which to file all twodimensional studio work).
Unit 1 - Page 1
• Visual Arts- Open
Teaching/Learning Strategies
The teacher will:
• conduct demonstration lessons and brainstorming sessions;
• conference with students on an individual basis and oversee research and group work.
The student will:
• conduct independent research, group work, exploration of materials, and critical analysis exercises of
self/peers.
Assessment and Evaluation
•
•
•
The teacher supports student progress through the drawing journal, self-/peer assessments,
student/teacher conferences, ongoing verbal feedback, critiques, and assessment of classroom
portfolio.
Assessment tools include checklists, marking schemes, rubrics, anecdotal comments with suggestions
for improvement.
Students are evaluated through self/peer rubric; portfolio presentations; formal, oral presentation, and
continuing teacher observation.
Resources
Books
Frayling, Christopher and Helen. The Art Pack. Toronto: Random House Inc., 1992.
ISBN 0-679-41419-3
Hume, Helen. A Survival Kit for the Secondary School Art Teacher. West Nyack, NY: The Center for
Applied Research in Education, 1990. ISBN 0-87628-798-4
Karsh, Yousuf. Karsh. Toronto: Little, Brown and Company, 1992. ISBN 0-8212-1906-5
Kropper, Jean G. Hand Made Books and Cards. Worcester, Mass: Davis Publications, 1997.
ISBN 0-871923343
Maisel, Eric. Artists Speak – A Sketchbook. New York: Harper Collins Publishers. ISBN 0-060250880-6
Mittler, Gene. Art in Focus. Mission Hills, California: Glencoe Publishing, 1969. ISBN 0026622718
Mittler, Gene. Understanding Art. Mission Hills, California: Glencoe Publishing, 1992.
ISBN 0-02-662286-6
Ragans, Rosalind. ARTALK. Westerville, Ohio: Glencoe Publishing, 1995. ISBN 0-02-640295-5
Stewart, Marilyn G. Thinking Through Aesthetics. Worcester, Mass: Davis Publications, 1997.
ISBN 0 87 1923637
Time Life Library of Art. New York: Time Life Books, 1966. ISBN 66-16540
Magazines
Canadian Art Magazine
CD-ROMs
Arts in the Classroom, A Teacher’s CD-ROM Resource. Toronto: TCDSB/CCC, 1998.
Videos
Stinespring, John A. Interacting With Art. Mission Hills, California: 1988.
ISBN 0-02-677065-2
Sister Wendy's Story of Painting. BBC Production Video Series.
Web Sites
www.artednet.getty.edu
Unit 1 - Page 2
• Visual Arts- Open
Activity 1: What Is Art?
Time: 120 minutes
Description
Student artists will explore and reflect upon the meaning of art, its aesthetic and monetary value in our
society and how this is determined. Through the exercise of a classroom “charity auction” or debate
students will begin to understand that the reasons for collecting art may be as many and varied as the
works themselves. Students will be given opportunities to study a work of art in greater depth and to
learn how the value placed on a work of art is determined. Visual information and reflections will be kept
in a classroom portfolio.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE3a - recognizes there is more grace in our world than sin and that hope is essential in facing all
challenges;
CGE4f - applies effective communication, decision-making, problem-solving, time and resource
management skills;
CGE5b - thinks critically about the meaning and purpose of work.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.02 - differentiates historical artworks by content, theme, style, techniques, and materials;
CRV.04 - uses concepts of visual literacy in describing their art activities;
ANV.01 - applies critical analysis processes to their artwork and works studied;
ANV.03 - describes interrelationships among art, the consumer, and the community.
Specific Expectations
CR3.01 - uses appropriate visual arts vocabulary in describing materials and processes;
AN1.04 - identifies possible meanings of a work by referring to background information and specific
visual indicators;
AN2.01 - explains how the formal organization of visual content (formalism) as well as the imitation of
life (imitationalism) can be used to create and think about works of art.
Planning Notes
The teacher will:
• read Thinking Through Aesthetics prior to the philosophical discussions on works of art establishing
criteria on how works are perceived and valued (see Resources);
• review various art-viewing strategies with the students in order to ensure that students do have the
prior knowledge required for this activity;
• provide students with a variety of art reproductions. Small art cards are recommended but larger
posters and original works of art could be used. Small, three-dimensional works, or photographs of
them, can also be provided;
• provide the art auction with some form of point system/credit. Students could be provided with a
point system in order to purchase one or more works of art. If desired, an arrangement could be made
with the students to raise money for an approved charity;
• provide each student with a class portfolio (large folder, envelope, etc.) in which their work can be
kept, organized, and recorded;
• ensure that each student has a drawing journal (sketchbook) in which to record sketches, drawings,
and personal reflections.
Unit 1 - Page 3
• Visual Arts- Open
Prior Knowledge Required
• apply an understanding of the elements and principles of design to historical and contemporary
artworks (Visual Arts, Grade 9, Open);
• apply a framework of critical analysis to works of art through participation in a variety of art-viewing
strategies (Visual Arts, Grade 9, Open);
• analyse the function (e.g., political, religious, social) of works of art (Visual Arts, Grade 9, Open).
Teaching/Learning Strategies
1. The teacher will:
• select a number of works of art (art cards, posters, etc.) to represent a variety of historical and
cultural backgrounds and disciplines;
• place the works on exhibit in the classroom and discusses perceived aesthetic and/or monetary
value;
• issue currency to the student artists (e.g., point system);
• develop a list of collection strategies with the students - Will they purchase one work at a high
price or several at a lower price? Will they combine their funds in order to make group
purchases? How will this be determined?;
• act as auctioneer.
2. The student artists will:
• “buy” at least one work of art;
• record a personal, written reflection on why they “purchased” a particular work (see Appendix I,
1a – Art Criticism).
3. The teacher will:
• record number of points which each student bids;
• or, donate all pennies to a classroom fund for charity (see Planning Notes);
• divide the class into small groups (of three to four students) and ask them to select one of the
works just “purchased” to become a source of further investigation;
• provide the students with a written guide to facilitate their study of the work (see Appendix I, 1a
– Art Criticism).
4. The students, in their groups of three or four will:
• assess the aesthetic qualities in their selected work using criteria from Thinking Through
Aesthetics;
• learn more about their work of art and the artist (research);
• learn from their work of art (interpret);
• consider various definitions for art;
• speculate on the kinds of issues that selected artwork might address such as the political, social,
religious, cultural and ethical (see Appendix I, 1a – Art Criticism);
• present a brief report on their findings to a large group.
5. The teacher will:
• conclude this part of the activity with a class discussion on why certain works of art might
command high prices in our society or why they might be considered so valuable (see key
resource - Thinking Through Aesthetics).
6. The students will:
• individually record in their Drawing Journals, responses to questions about What is Art? (see
Appendix I, 1b – What Is Art?).
Unit 1 - Page 4
• Visual Arts- Open
Assessment/Evaluation Techniques
• written reflections
• ongoing verbal feedback
• performance assessment of group activity, (teacher, self, and peer)
• teacher assessment and evaluation of group presentation
Accommodations
• Students with special needs can be grouped with other students for the art auction and subsequent
critique activity.
• Students seeking enrichment could organize and conduct the art auction and provide additional
information or format to create enthusiasm for the auction.
• Make visual records/drawings of the works presented along with reflections.
Resources
Books
Mittler, Gene. Art in Focus. Mission Hills, California: Glencoe Publishing, 1969.
ISBN 0026622718
Mittler, Gene. Understanding Art. Mission Hills, California: Glencoe Publishing, 1992.
ISBN 0-02-662286-6
Ragans, Rosalind. ARTALK. Westerville, Ohio: Glencoe Publishing, 1995. ISBN 0-02-640295-5
Stewart, Marilyn G. Thinking Through Aesthetics. Worcester, Mass: Davis Publications, 1997.
ISBN 0 87 1923637
CD-ROMs
Arts in the Classroom, A Teacher’s CD-ROM Resource. Toronto: TCDSB/CCC, 1998.
Videos
Stinespring, John A. Interacting With Art. Mission Hills, California: 1988. ISBN 0-02-677065-2
Web Sites
www.artednet.getty.edu
Appendices
Appendix I, 1a – Art Criticism
Appendix I, 1b – What Is Art?
Unit 1 - Page 5
• Visual Arts- Open
Activity 2: How Does the Artist Think?
Time: 180 minutes
Description
Having observed some of the issues surrounding the value of art in today’s society, student artists will
now consider works of art from the viewpoint of certain recognized artists of today and of times past.
Students will note how artists, through their words and works, have been able to address political, social,
religious, and ethical issues in the world around them. Student artists will create a visual response to one
of these artists as a first exercise for their drawing journals.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE3a - recognizes there is more grace in our world than sin and that hope is essential in facing all
challenges;
CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;
CGE4f - applies effective communication, decision-making, problem-solving, time and resource
management skills;
CGE5b - thinks critically about the meaning and purpose of work.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.03 - explains the social and historical context and the chronology of distinctive artistic styles;
CRV.01 - produces a work designed around specific objectives and challenges;
CRV.02 - demonstrates the ability to take varied and creative approaches to using materials, tools,
processes and technologies in studio activities;
CRV.04 - uses concepts of visual literacy in describing their art activities;
ANV.01 - identifies possible meanings of a work by referring to background information and specific
visual indicators;
ANV.04 - describes interrelationships among art, the consumer and the community.
Specific Expectations
CR1.02 - uses tools, materials, processes and technologies safely and appropriately;
CR1.03 - uses research from various sources;
AN1.04 - identifies possible meanings of a work by referring to background information and specific
visual indicators.
Planning Notes
• It will be necessary for the teacher to provide a number of resources for the students. A collection of
quotations by well-known artists will serve as a starting point (Thinking Through Aesthetics and
Artists Speak are two sources – see Resources).
• The students will need samples of works by the artists (as listed, above). This can be provided
through a classroom file, school library, or access to the Internet.
• There should be a wide selection of drawing tools available to the students. They will need various
types of pencils, pens, markers, pencil crayons, etc.
Unit 1 - Page 6
• Visual Arts- Open
Prior Knowledge Required
• use materials and processes to create art objects that express their intent (Grade 9, Visual Arts,
Open);
• know and apply the elements and principles of design (Grade 9, Visual Arts, Open);
• apply the creative process (e.g., perception, exploration, experimentation, production, and
evaluation) in their own work (Grade 9, Visual Art, Open).
Teaching/Learning Strategies
1. The teacher will:
• divide students into small groups of three or four;
• place a number of quotations by well-known (and some not so well known) artists from various
races and cultures as well as contemporary and historically relevant artists;
• have the students select one quotation at random;
• assist students by clarifying the language of the quotations where necessary.
Sample quotations might include:
• “Braque always said that the only thing that counts in painting is the intention, and that's true.
What counts is what one wants to do, and not what one does.” (Pablo Picasso, painter);
• “I do not want to go until I have faithfully made the most of my talent and cultivated the seed that
was placed in me.” (Kathe Kollwitz, visual artist);
• “You paint the way you have to in order to give, that's life itself, and someone will look and say
it is the product of knowing, but it has nothing to do with knowing, it has to do with giving.”
(Franz Kline, painter);
• “When uncomfortable questions are raised by art, or when it speaks with the voice of the
disenfranchised, the larger audience is disturbed.” (Martha Rosler, painter);
• “In the end we shall have had enough of cynicism and skepticism and humbug and we shall want
to live more musically.” (Vincent van Gogh, painter);
• “A woman who has lived many things and who sees lines and colours as an expression of living
might say something that a man can't. I feel there is something unexplored about women that
only a woman can explore.” (Georgia O’Keeffe, painter);
• “There is no “must” in art, which is ever free.” (Wassily Kandinsky, painter);
• “Greatness breaks laws.” (Louise Nevelson, sculptor);
• “I use naive imitation. This is not because I have no imagination or wish to say something about
the everyday world. I imitate because I want people accustomed to recognizing the power of
objects.” (Claus Oldenburg, visual artist);
• “Painting is a way to knowledge. So are all the arts.” (Moris Graves, painter);
• “I chronicle, I do not judge.” (John Singer Sargent, painter);
• “I've never bothered painting ugly things in life. People struggling, having difficulty. You meet
that when you go out, and then you have to come back and see the same thing hanging on the
wall.” (Alma Thomas, painter);
• “I believe in everlastingness. I never finish a painting - I just stop working on it for a while.”
(Arshile Gorky, painter);
• “The aim and the art of the portraitist who works with a camera are not merely to produce a
likeness but to reveal the mind and the soul behind the human face.” (Yousuf Karsh,
photographer);
• “Composition is the art of arranging in a decorative manner the various elements at the painter's
disposal for the expression of his feelings.” (Henri Matisse, painter);
Unit 1 - Page 7
• Visual Arts- Open
•
2.
3.
4.
5.
“You ought to be able to say that a painting is as it is, with its capacity to move us, because it is
as though it were touched by God. But people would think it a sham. And yet that is what’s
nearest the truth.” (Pablo Picasso, painter);
• “In the past, the caribou would talk up where we used to live. Some caribou are like that today.”
(Irene Avaalaaqiaq, Inuit textile artist);
• “A work of imagination is at once symbolic and realistic.” (Alex Colville, painter).
Each group of students will:
• respond to a number of questions about their quotation (see Appendix 1, 2a – How Does the
Artist Think?)
• write a brief explanation of the meaning of the quotation
• give a title, date, and example of the artist’s work (borrowed from the classroom information
file)
• provide an explanation, using art vocabulary, as to how the “philosophy” of the artist (expressed
in the quotation) might be reflected in this work (See Appendix I, 2a – How Does the Artist
Think?);
• produce a short, oral report to the class on their findings, sharing their particular artist's words
with the larger group (quotations could be printed on a large chart for classroom display);
• involve the larger group (student audience) in a discussion about the work on display and how it
reflects a religious, social, political, or ethical issue.
The teacher will:
• provide the students with a wide variety of drawing tools such as graphite pencils, markers,
Conte, oil pastels, pencil crayons, crayons, India ink, etc.;
• instruct each student to select one of the quotations, now posted in the classroom, that most
closely reflects something that they feel is true about art and that represents an issue that is
important to them. They may select their group’s quotation or any other that is listed.
The student will:
• identify the main issue that is raised by their selected quotation, be it religious, political, social,
ethical, or technical;
• complete an informative sketch in their drawing journals that somehow reflects the ideas most
prevalent in the quotation they selected (e.g., If a student selects Martha Rosler’s “When
uncomfortable questions are raised by art...” then they might complete a charcoal drawing that
deals with social issues surrounding the plight of the homeless in our society. If a student selects
Van Gogh’s, “In the end we shall have had enough of cynicism...” then they might reject certain
issues for aesthetics only and opt to re-create the beauty of the natural world in a sketch of
wildflowers in pencil crayon. If a student selects “I do not want to go until I have faithfully made
the most of my talent....” then they are identifying the responsibility to develop one’s talents and
they might do so by demonstrating how they can best employ their own abilities);
• select drawing tools that best suit the idea that they wish to demonstrate.
The teacher will instruct the students to:
• complete a second reflection on art, noting how their ideas have developed since the reflection
completed in Activity 1 (see Appendix I, 1b – What Is Art?).
Assessment/Evaluation Techniques
• teacher observation of small-group activity to provide ongoing assessment
• performance assessment of group activity
• drawing journal entry
Unit 1 - Page 8
• Visual Arts- Open
Accommodations
• Students with special needs may work with a partner or advance directly to a drawing or painting of
art.
• Enrichment level students could begin the activity by providing their own quotations that they have
already researched.
• Rather than link one quotation to one work of art, enrichment level students might link the words of
one artist to compositions by other artists.
Resources
Books
Mittler, Gene. Art in Focus. Mission Hills, California: Glencoe Publishing, 1969. ISBN 0026622718
Mittler, Gene. Understanding Art. Mission Hills, California: Glencoe Publishing, 1992.
ISBN 0-02-662286-6
Ragans, Rosalind. ARTALK. Westerville, Ohio: Glencoe Publishing, 1995. ISBN 0-02-640295-5
Karsh, Yousuf. Karsh. Toronto: Little, Brown and Company, 1992. ISBN 0-8212-1906-5
Maisel, Eric. Artists Speak – A Sketchbook. New York: Harper Collins Publishers. ISBN 0-06-250880-6
Stewart, Marilyn G. Thinking Through Aesthetics. Worcester, Mass: Davis Publications, 1997.
ISBN 0 87 1923637
Magazines
Canadian Art Magazine
CD-ROMs
Arts in the Classroom, A Teacher’s CD-ROM Resource. Toronto: TCDSB/CCC, 1998.
Web Sites
www.artednet.getty.edu
Appendices
Appendix I, 2a – How Does The Artist Think?
Appendix I, 1b – What Is Art?
Activity 3: How Does the Artist Work?
Time: 180 minutes
Description
Having observed some of the ideas behind well-known and established works of art, students will now
begin to explore how artworks are influenced by the circumstances in which the artist lived. They will
see that art is often a result of the cultural, social, economic, and theological world in which the artist
lives and works. Students will create an “art chain”, in the form of an accordion booklet, that will
illustrate selected artists from a mid-segment of the Western art history timeline. These booklets will help
form part of a classroom resource that will be used in the study of possible art related careers in Unit 6.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations:
CGE1g - understands that one's purpose or call in life comes from God and strives to discern and live out
this call throughout life’s journey;
CGE1i - integrates faith with life;
CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;
Unit 1 - Page 9
• Visual Arts- Open
CGE4f - applies effective communication, decision-making, problem-solving, time and resource
management skills;
CGE5b - thinks critically about the meaning and purpose of work.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.03 - explains the social and historical context and the chronology of distinctive artistic styles;
CRV.01 - produces a work designed around specific objectives and challenges;
CRV.02 - demonstrates the ability to take varied and creative approaches to using materials, tools,
processes, and technologies in studio activities;
ANV.03 - describes the interrelationships among art, the consumer and the community.
Specific Expectations
TH2.02 - demonstrates an understanding of a mid-segment of the Western art history timeline;
CR1.02 - uses tools, materials, processes and technologies safely and appropriately;
CR1.03 - uses research from various sources;
CR2.02 - demonstrates the ability to use an increasing range of tools, materials, processes and
technologies in producing work;
CR2.03 - executes sketches and drawings in an increasing variety of media;
CR3.03 - demonstrates the ability to review and evaluate the creative processes they use, as well as the
resulting artworks.
Planning Notes
The student will:
• need to be provided with a wide range of drawing materials and various media for their accordion
booklets;
• have access to various resources for their research (e.g., art cards, posters, texts, Internet, etc.).
Prior Knowledge Required
• apply an understanding of the elements and principles of design to personal, historical, and
contemporary artworks;
• use materials and processes to create art objects that express their intent (Visual Arts, Grade 9,
Open).
Teaching/Learning Strategies
1. The teacher will:
• divide the class into smaller groups of four to five students and provide each group with a
number of art resources (e.g., various texts, library books on different artists, biographical
information on artists, etc.);
• instruct the students to select one student to act as scribe while the others explore these
references in order to generate a list of the times and places in which artists lived and worked;
• instruct the scribe in each group to record the information on the forms provided (one per group)
(see Appendix I, 3a – How Does the Artist Work?).
2. The students will:
• work in their groups until the information is completed (e.g., historical periods in which artists
lived and the kinds of artists or artisans who lived and worked at that time).
Unit 1 - Page 10
• Visual Arts- Open
3. The teacher will:
• compile a classroom chart as each group is asked to present their findings, listing the art periods
and types of artists in chronological order. This chart might list, for example, that in the ninth
century AD in France, manuscript illuminators were quite busy or that in sixteenth-century Italy,
painters, sculptors and architects were in demand, or that in the late twentieth century in North
America there is a demand for filmmakers and animators;
• instruct the students that they are to select one time period and one type of artist for the next part
of this exploration.
4. Each student will:
• create a fictitious artist for their selected time period;
• give this artist a name and brief biography – they are encouraged to be as imaginative as possible
with this;
• research and develop the following for their artist of choice: the kind of training for their job that
their artist receives, the place where they would work, and the tools that they would use and the
cultural, social, economic, and theological community in which they live.
5. The teacher will:
• demonstrate how to make a concertina style booklet (see Hand Made Books and Cards,
Resources);
• provide each student with the materials for assembling their own booklets;
• provide students with a number of different materials for their illustrations (drawing materials,
paints, materials for collage, etc.).
6. The student will:
• create their booklets by selecting colours and materials to suit their particular artist;
• illustrate one aspect of their artist’s “biography” on each page of their booklet. For example: The
cover might have a design that reflects the artist’s life and times (not necessarily a portrait). Page
one may illustrate the artist’s early years, page two the artist’s training, page three would have
the current place of work, page four would illustrate the various tools that the artist would use,
and pages five and six might show a small sampling of the artist’s work.
7. The teacher will:
• arrange to have these booklets placed on display where they will become a resource for
traditional and/or related careers in art (concertina booklets have sculptural possibilities,
classroom space permitting).
Assessment/Evaluation Techniques
• group performance assessment of research
• teacher assessment of group performance and presentations
• final assigned artwork (concertina booklet)
Accommodations
• Special needs students may need assistance with the assembling of the booklets.
• The last page might show the artist’s most outstanding contribution to the society in which they live
and work.
Unit 1 - Page 11
• Visual Arts- Open
Resources
Books
Frayling, Christopher and Helen. The Art Pack. Toronto: Random House Inc., 1992. ISBN 0-679-41419-3
Hume, Helen. A Survival Kit for the Secondary School Art Teacher. West Nyack, NY: The Center for
Applied Research in Education, 1990. ISBN 0-87628-798-4
Karsh, Yousuf. Karsh. Toronto: Little, Brown and Company, 1992. ISBN 0-8212-1906-5
Kropper, Jean G. Hand Made Books and Cards. Worcester, Mass.: Davis Publications, 1997.
ISBN 0871923343
Mittler, Gene. Art in Focus. Mission Hills, California: Glencoe Publishing, 1969. ISBN 0026622718
Mittler, Gene. Understanding Art. Mission Hills, California: Glencoe Publishing, 1992.
ISBN 0-02-662286-6
Ragans, Rosalind. ARTALK. Westerville, Ohio: Glencoe Publishing, 1995. ISBN 0-02-640295-5
Stewart, Marilyn G. Thinking Through Aesthetics. Worcester, Mass: Davis Publications, 1997.
ISBN 0 87 1923637
Time Life Library of Art. New York: Time Life Books, 1966. ISBN 66-16540
CD-ROMs
Arts in the Classroom, A Teacher’s CD-ROM Resource. Toronto: TCDSB/CCC, 1998.
Web Sites
www.artednet.getty.edu
Appendix
Appendix I, 3a – How Does The Artist Work?
Unit 1 - Page 12
• Visual Arts- Open
Appendix I, 1a
Art Criticism
Name:
Grade:
Name of Artwork (if known):
I
To be completed individually.
Give your immediate response to the artwork and why you “selected” it.
II To be completed by each group.
Now talk about one work in a formal manner by answering the following questions:
Step One: (The Facts) – Describe what you see in the artwork. Mention the main elements of
design.
Step Two: (The Design) – Look at the way in which the facts are arranged. What principles of
design are being used and how is the work balanced?
Step Three: (The Meaning) – What is the purpose or meaning of the artwork? Read what was
written in steps one and two. Then decide the following:
• Is the artist primarily concerned with imitating nature (literal qualities)?
• Is the artist primarily concerned with the formal aspects of the work (design qualities)?
• Is the artist primarily concerned with the emotional impact of the work (expressive qualities)?
III To be completed as a group, on a separate sheet of paper.
Let’s talk about what makes the above-mentioned work “art” by responding to the following
questions:
• How or why might this work be considered “special” as a work of art?
• What purpose does it serve (if any)?
• If it does not appear to serve any particular purpose then how might one measure its “value”?
• If art is a form of communication then what is this work communicating?
• What makes this work of art valuable to you?
• What issues from the past or present might be raised by this work? For example, how does the
work point to social issues in the society in which the work was made? Or how might it address
political, religious, or ethical issues? How might it relate to that which is considered beautiful or
to that which is perceived as ugly in society?
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Appendix I, 1b
What Is Art?
1. Today I considered the following ideas and questions about the Visual Arts:
2. `The characteristics of the Visual Arts that I consider to be most important are:
3. My definition of the Visual Arts, thus far, is:
4. Artistic questions I would like to think about:
(adapted from Thinking through Aesthetics, p.71.)
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Appendix I, 2a
How Does the Artist Think?
1. To be completed by the scribe in each group.
Having selected one quotation by an artist, rewrite the quotation in your own words, explaining what
you think the artist means by his or her words.
2. To be completed by the group.
Select one work of art by this artist and record the following information:
• Name of Artist:
•
Vital Statistics of Artist: (date of birth, death if applicable, where the artist lived and worked,
etc.)
•
Title of Work:
•
Date of Work:
•
Medium:
•
Tools Used to Create the Work:
•
Techniques:
•
Colour Scheme:
3. To be completed by the group.
Using the “language of art” explain how the words of the artist might “match” his or her artwork
(Consider certain issues that the artist seems to feel are important. For example, ask yourselves what
social, political, cultural, theological, ethical, or aesthetic issues arise from the artist’s words and
work.)
Unit 1 - Page 15
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Appendix I, 3a
How Does the Artist Work?
The scribe in each group will record the following information:
1. The name of your artist:
2. A brief, fictional biography for the above named artist (including time, place, and historical period):
3. The type of education, training, or mentorship received:
4. The place where the artist works (e.g., craft workshop, attic, graphic arts department, etc.):
5. The kinds of tools that the artist uses to create their artworks:
6. Identify the kind of contribution that this artist might make to the society in which he or she lives,
e.g., What possible influence might this artist have on the cultural, social, economic, and theological
community in which he or she lives and works?
Unit 1 - Page 16
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Unit 2: Art by Design
Time: 20 hours
Unit Description
“Design is everybody’s business: we live in it; we eat in it; we pray and play in it.”
Paul Grillo, Form Function and Design, page 9.
In this unit, students will investigate several aspects of design. Initially, they will discover how the
elements and principles work together to make a good design through two-dimensional and threedimensional exercises. As well they will look at the role of design in our community and in the world by
engaging in the creation of two-dimensional and three-dimensional applied designs. The relationships
between form and function, form, and content, as well as product and target audience will be discovered
as students grapple with both the practical and ethical aspects of designing for our world. Careers in
design related fields will also be explored. A variety of two-dimensional and three-dimensional materials
and tools, such as paper, paint, marker, pencils, cardboard, glue, scissors, cutting knives, etc. will be
used.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations: CGE3b, 4b, 7b, 7i, 7j.
Strand(s): Theory, Creation, Analysis
Overall Expectations: THV.01, 04; CRV.01, 02, 03; ANV.01, 02, 03.
Specific Expectations: TH1.01, 02; TH2, 03; TH3.01, 02; CR1.02; CR2.02, 03, 04; CR3.01, 02, 03;
AN1.01, 02; AN2.01.
Activity Titles (Time + Sequence)
Activity 1
Activity 2
Activity 3
Activity 4
Activity 5
Design Is Everybody’s Business
Positive and Negative: Design by Nature
What’s in a Name?
Sell Me Something
Containers, Bags, and Boxes
150 minutes
200 minutes
250 minutes
300 minutes
300 minutes
Note: It is suggested that the teacher may wish to use Activity 1 and then either Activities 2 and 5 or
Activities 3 and 4, to be sure to cover two-dimensional and three-dimensional design assignments both
formal and applied, if more time is needed for individual activities.
Prior Knowledge Required
•
•
•
•
•
•
an understanding of the elements and principles of design as related to both two-dimensional and
three-dimensional design;
an ability to apply this understanding to personal historical and contemporary works;
an ability to research and describe careers in Visual Arts;
an understanding of and ability to produce two-dimensional and three-dimensional artworks using a
variety of materials, tools, processes, and technologies;
an ability to create representational, abstract and non-objective artworks that convey ideas or
concepts;
an ability to apply a framework of critical analysis to their own and acknowledged artworks.
Unit 2 - Page 1
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Unit Planning Notes
•
•
•
The drawing journal continues to be an important tool for research, experimentation, and planning in
order to gain an understanding of the creative design process.
The role of the designer within the Christian context of the great commandment to “love one another
as I have loved you” can be explored in an attempt to make students aware of ethics and standards in
advertising and design, in order to help them to see the importance of designing within a social
conscience.
A variety of two-dimensional and three-dimensional materials and tools should be available as well
as a variety of technologies.
Teaching/Learning Strategies
The teacher will:
• review Grade 9 design expectations in terms of both two-dimensional and three-dimensional
techniques;
• use slides, visuals, videos from a wide variety of cultures and diverse stylistic approaches;
• direct research and experimentation activities (drawing journal);
• supply a variety of materials and tools for student use;
• use a variety of teaching strategies e.g., small group, individual, large group.
The student will:
• research various types of design and design related careers independently and in small groups;
• experiment and plan using their drawing journals;
• produce a series of works both two-dimensional and three-dimensional to solve given design
problems;
• critique examples of applied design as well as their own and other’s design pieces individually and in
small groups;
• choose and display works that effectively solve the given design problems, while considering the
personal, social, and moral perspectives;
• develop and demonstrate creative thinking skills.
Assessment and Evaluation
•
•
•
•
•
Rubrics and anecdotal comments for drawing journal activities.
Observation by the teacher and teacher peer and self checklists of safe and responsible use of tools
and materials.
Evaluation of design activities.
Quizzes or paper tests.
Presentations, peer and self of career related research.
Resources
Books
Adbusters Magazine. Vancouver: The Media Foundation, 1989. ISBN 0847-9097
Bennett, Bryan and Constance Bell. Discovering Canadian Art, Learning the Language. Scarborough:
Prentice-Hall Can. Inc., 1984. ISBN 0-13215310-6
Bevlin, Marjorie. Design Through Discovery. Toronto: Holt Rinehart and Winston, 1989.
ISBN 0-03-089701-7
Creative Source 13. Toronto: Wilcord Publications, 1992. ISBN 09-2098621-8
Unit 2 - Page 2
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Creative Source 14. Toronto: Wilcord Publications, 1993 ISBN 09-2098626-9
Escher, Maurits C. The World of M.C. Escher. New York: Abradale Press/Harry Abrams, 1988.
ISBN 0-81-098084-3
Goodrum, Charles and Helen Dalrymple. Advertising in America, The First 200 Years. New York:
Abrams Inc., 1990. ISBN 0-8109-1187-6
Hubel, Vello and Diedra Lussou. Focus on Designing. Toronto: Glencoe McGraw-Hill, 1984.
ISBN 0-07-548661-X
MacGregor, Ron, Constance Hall, Bryan Bennett, and Ann Calvert. Canadian Art Building a Heritage.
Scarborough: Prentice-Hall Canada Inc., 1987. ISBN 0-13-113010-2
Mittler, Gene. Art in Focus. New York: Glencoe McGraw-Hill, 1994. ISBN 0-02-662312-9
Ragans, Rosalind. ArtTalk, 2nd ed. New York: Glencoe McGraw-Hill, 1995. ISBN 0-02-640295-5
Reid, Denis. A Concise History of Canadian Painting, 2nd ed. Toronto: Oxford University Press, 1988.
ISBN 0-19-540663-X
Roukes, Nicholas. Art Synectics. Worcester Mass: Davis Publications, 1984. ISBN 0-87192-151-0
Roukes, Nicholas. Design Synectics. Worcester Mass: Davis Publications, 1988.
ISBN 87192 -198-7
Samuelson, Jerry and Jack Stoops. Design Dialogue. Worcester Mass.: Davis Publications, 1983.
ISBN 0-87192-139-1
Tambini, M. Michael. The Look of the Century. Toronto: Firefly Books Ltd., 1999. ISBN 155209-344-1
Walker, Don. Teaching Ideas for Media Literacy. Toronto: Toronto Catholic District School Board,
1998.
Wong, Wucius. Principles of Two-dimensional Design. Toronto: Van Nostrand Reinhold, 1972.
ISBN 0-442-29565-0
Wong Wucius. Principles of Three-dimensional Design. Toronto: Van Nostrand Reinhold, 1977.
ISBN 0-442-29561-8
Wong, Wucius and Benjamin Wong. Visual Design on the Computer. New York: Design Books,
distributed by Lyons and Bierford, 1994. ISBN 1558212981
CD-ROMs
Arts in the Classroom, A Teacher’s CD-ROM Resource. Toronto: TCDSB/CCC, 1998.
Videos
Adbusters Video. (other title – Undercuts – TV program) 1995.
Still Killing Us Softly. 1987. 32 min.
Web Sites
Adbusters
www.adbusters.org
Unit 2 - Page 3
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Activity 1: Design Is Everybody’s Business
Time: 150 minutes
Description
In this introductory activity, students will discover the nature and purposes of design in our world. The
following questions will be addressed by the teacher through discussion with a series of design-related
visuals:
• What do we mean by design? How do the elements and principles fit in?
• Where do we see design in daily life?
• Why is design everybody’s business?
• How does your own religious/cultural perspective impact on your interpretation and enjoyment of
design?
Students will engage in a series of exercises in their drawing journals using lines and simple geometric
and organic shapes to produce a specific number of design relationships (try six to eight of these) using a
variety of drawing media. An examination of Canadian artworks that are non-representational will help
them to see the importance of formalism (a theory of art that emphasizes the visual qualities, e.g., the
effective organization of the elements of art through use of the principles) in their own works.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE3b - creates, adapts, evaluates new ideas in the light of the common good;
CGE4b - demonstrates flexibility and adaptability.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.01 - demonstrates an understanding of the design process;
CRV.01 - produces a work designed around specific objectives and challenges;
CRV.01 - applies critical analysis processes to their artwork and works studied;
ANV.03 - describes interrelationships among art, the consumer, and the community.
Specific Expectations
TH1.01 - explains how compositions are altered by a change in design principles;
CR1.02 - uses tools, materials, processes, and technologies safely and appropriately;
CR2.03 - executes sketches and drawings in an increasing variety of media;
AN1.01 - describes the stages of the design process followed in a particular assignment;
AN1.02 - analyses the formal composition of an example of artwork from personal and/or historical
works studied.
Planning Notes
The teacher will:
• provide a variety of visuals demonstrating design concepts - both fine art and applied art should be
collected by the teacher from various sources (e.g., books, slides, reproductions, CD-ROM) for the
introductory discussion on design in everyday life (e.g., Borduas’s Etiole Noire to show emphasis of
non-colour value and balance of shape and space, Colville’s Horse and Train to show gradation of
line shape and space and movement of line, Pitseolek’s Enchanted Owl to show rhythm and emphasis
of shape as well as balance of space and shape, Mondrian’s Broadway Boogie Woogie to show
balance and rhythm of colour and harmony of shape with variety of colour, Toulouse Lautrec’s
poster Jane Avril at the Moulin Rouge to show to show movement of line and gradation of space,
Mackintosh’s High-backed chair to show harmony of shape with variety of space);
• begin to collect student examples of design concepts to use in teaching this unit again.
Unit 2 - Page 4
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Prior Knowledge Required
• an understanding of the elements and principles of design and some knowledge of how they work
together
• an ability to use a variety of drawing media and tools (e.g., pencils, markers, pastels, etc.)
Teaching/Learning Strategies
1. The teacher will:
• review and present two-dimensional design techniques and works of art;
• show examples of applied design from various time periods and cultures (e.g., ToulouseLautrec’s posters, F.L. Wright’s furniture, Elizabethan costume as seen in paintings by Van
Dyck, a model T Ford, a tin of Coke, a CD cover design, African raffia pile cloth, Haida masks,
Japanese woodcut prints, etc.) to broaden students’ understanding of the use of design;
• help students analyse how Canadian abstract artists have used elements and principles in
formalist design (e.g., Jack Bush’s Strawberry, Claude Tousignant’s Gong, Paul Emille
Borduas’s Etoile Noir);
• demonstrate how to create a simple formalist design to show specific element/principle
relationships (e.g., formal balance of colour with a variety of shapes. See Appendix II, 1b –
Formalist Designs).
2. The student will:
• read information on careers in art such as Chapter 4: Careers in Art in the text ArtTalk and then
investigate the importance of design in our everyday lives through teacher lead discussion and
brainstorming in small groups in order to compile a list to be shared with the class of objects
from everyday life that have been designed by an artist. Each group should focus on one
particular topic for their lists such as fashion, house wares, transportation, mass communication,
industry, toys, etc. and should consider the ethical problems created by some of these products
(e.g., animal testing, cigarette and alcohol products, safety standards, and promotion of violence
in some children’s toys);
• after the group presentations, write a reflection in their drawing journals that responds to our
premise “Design Is Everybody’s Business” which considers how design affects their individual
lives and how their religious/cultural beliefs affect their assessment of these designed objects;
• respond verbally or in written form to examples of formalism in artworks studied;
• create a series of six to eight design exercises to solve given design problems (as this is an
introductory unit, the design problems are formalist in nature in order to acquaint students with
using the elements and principles together) assigned by the teacher using a choice of drawing
media. Problems might include the following:
− Geometric shapes to show harmony of shape, variety of colour, and informal balance of
shape;
− Geometric shapes to show harmony of colour and variety of texture;
− Organic shapes to show variety of shape and size with gradation of colour;
− Shapes and lines to show emphasis of line with balance of colour;
− Lines only to show gradation of line and gradation of space;
− Lines and shapes to show emphasis of texture and gradation of value;
− Organic shapes to show movement or rhythm of colour with emphasis of value;
− Rectangles and squares to show proportion of colour and shape with rhythm of texture or any
other relationships the teacher may wish to present.
• in small groups, choose examples from each student’s assignment that best solve the given
problem and present these to the class.
Unit 2 - Page 5
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Assessment/Evaluation Techniques
• ANV.03 – checklist of student conferencing and presentations of uses of design in everyday life
• ANV.01 – evaluation of student reflection on the role of design in everyday life
• AN1.02 – verbal response by students to Formalism in Canadian Non-representational art
• THV.01, CRV.01, CR1.02, CR2.03, CGE3b, 4b – rubric, peer and teacher evaluation of successful
solutions to given design problems
• THV.01, TH1.01, TH1.02, AN1.01 – paper test or journal response about process of design with self
assessment
Accommodations
• All exercises may be done on a computer using a drawing program.
• Special needs students working with an assistant could do several of these exercises using pre-cut
construction paper shapes and glue.
• As an enrichment activity, students could look for examples of fine and applied art in ArtTalk and
Discovering Canadian Art that use the elements and principles in similar ways to the exercises they
just finished.
• As an enrichment activity, students could take on element of art such as line and attempt to show
how this element could be used with each of the principles, emphasis, balance, harmony, variety,
gradation, proportion, movement, and rhythm in an additional series of exercises.
Resources
Books
Bennett, Bryan and Constance Bell. Discovering Canadian Art, Learning the Language. Scarborough:
Prentice-Hall Can. Inc., 1984. ISBN 0-13215310-6
Bevlin, Marjorie. Design Through Discovery. Toronto: Holt Rinehart and Winston, 1989.
ISBN 0-03-089701-7
MacGregor, Ron, Constance Hall, Bryan Bennett, and Ann Calvert. Canadian Art Building a Heritage.
Scarborough: Prentice-Hall Canada Inc., 1987. ISBN 0-02-662312-9
Mittler, Gene. Art in Focus. New York: Glencoe McGraw-Hill, 1995. ISBN 0-02-662312-9
Raglans, Rosalind. Art Talk, 2nd ed. New York: Glencoe McGraw-Hill, 1995. ISBN 0-02-640295-5
Reid, Denis. A Concise History of Canadian Painting, 2nd ed. Toronto: Oxford University Press, 1988.
ISBN 0-19-540663-x
Roukes, Nicholas. Design Synectics. Worcester Mass.: Davis Publications, 1988. ISBN 87192-198-7
Samuelson, Jerry and Jack Stoops. Design Dialogue. Worcester Mass.: Davis Publications, 1983.
ISBN 0-87192-139-1
Tambini, Michael. The Look of the Century. Toronto: Firefly Books Ltd., 1999. ISBN 155209-344-1
Walker, Don. Teaching Ideas for Media Literacy. Toronto: Toronto Catholic District School Board,
1998.
Wong Wucius. Principles of Two-dimensional Design. Toronto: Van Nostrand Reinhold, 1972.
ISBN 0-442-29565-0
Wong, Wucius and Benjamin Wong. Visual Design on the Computer. New York: Design Books,
distributed by Lyons and Bierford, 1994. ISBN 1558212981
Appendices
Appendix II, 1a – Design Evaluation Recorder (2 sheets)
Appendix II, 1b – Formalist Designs
Unit 2 - Page 6
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Activity 2: Positive and Negative: Design in Nature
Time: 200 minutes
Description
Building upon what they have learned in Activity 1, students will study the relationship between positive
and negative design in nature and in art. Using a complementary value/colour relationship (e.g., black
and white or red and green, etc.) and subject matter based on symmetry in nature as seen in endangered
plant and animal species, the students will create a design in cut paper. This activity will reinforce in
their minds the way that shape and space work together and are both important to a successful design.
Beauty in nature may be seen here as the conscious plan of a master designer. Students will consider our
call to be stewards of the planet and to make the relationship to global and environmental responsibility.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE7i - respects the environment and uses resources wisely.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.01 - demonstrates an understanding of the design process;
CRV.01 - produces a work designed around specific objectives and challenges;
CRV.03 - explains the importance of process in relation to the final product;
ANV.01 - applies critical analysis processes to their artwork and works studied.
Specific Expectations
CR1.02 - uses tools, materials, processes, and technologies safely and appropriately;
CR2.02 - demonstrates the ability to use an increasing range of tools, materials, and technologies in
producing works of fine art and applied design;
AN1.02 - analyses the formal composition of an example of artwork from personal and/or historical
works studied.
Planning Notes
The teacher will:
• have a ready supply of photo sources from nature to use as examples and for students who need extra
assistance in getting started;
• be sure to have enough cutting tools for students to use in cutting out their designs. It is
recommended at this grade for safety reasons, not to require that students have their own knives and
that clear safety guidelines/instructions are provided;
• ensure students have a covering on tables when cutting so as not to cut table or drawing board;
surfaces. Millboard from old portfolios works well;
• ensure students have one small bottle of glue for at least every two people.
Prior Knowledge Required
• an understanding of the elements and principles of design and some knowledge of how they work
together
• an ability to use with some skill a variety of drawing media and tools especially cutting knives
• an understanding of the importance of research in finding visual sources as inspiration for their own
artworks
Unit 2 - Page 7
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Teaching/Learning Strategies
1. The teacher will:
• introduce the role of positive and negative space in design by presenting a variety of visuals both
from nature (the presence of God’s hand as master designer) and from artwork (e.g., masks from
various cultures, and the works of Escher);
• explain the role of symmetry in the creation of this design as the design is based on the fact that
the left half of the design is a mirror image of the right side except that what is positive on the
right becomes negative on the left and vice versa (see Appendix II, 2a – Positive and Negative
Design Showing Symmetry);
• motivate students through visual aids/film clips about the nature of our role on the planet as
stewards and our need to protect endangered plant and animal species in order to ensure our
survival too, helping students to identify endangered plants and animals to be used as the
subjects of this activity;
• show an example of this activity (see Appendix II, 2a – Positive and Negative Design Showing
Symmetry) to demonstrate the steps involved in its execution;
• review the correct and safe use of a cutting knife and the careful use of the glue ensure a good
execution of this assignment and to provide for wise use of supplies in order to ensure that
resources are not wasted.
2. The student will:
• gain an understanding of the figure/ground relationship and positive/negative design by studying
examples from nature and artwork (e.g., Escher);
• explore in small groups and make lists of natural subjects exhibiting symmetry which would lend
themselves to this activity and present their findings to the class;
• after conferencing with the teacher, choose examples from these lists or add to them endangered
plant and animal patterns that can be used as the subject for this activity;
• gather sources from nature and photos that may be used as inspiration for the designing of this
work (e.g., leaves, flowers, insects, animals, birds, fish);
• create two thumbnails in drawing journals of possible symmetrical designs based on two
different endangered species;
• research for homework and write up a half page of information about each chosen species and
why or how it is endangered;
• choose the best design through consultation with the teacher and peers for this activity;
• divide the design in half with a pencil line so that one side is a mirror image of the other;
• with pencil or marker work out the positive and negative areas of the design by colouring in the
positive areas on the left half and the negative areas on the right half (see Appendix II, 2a –
Positive and Negative Design Showing Symmetry for examples);
• use one sheet of construction paper 18 x 24 inches, or 45 x 60 cm in size and another sheet half
that size in a contrasting colour, (e.g., black and white, red and green, orange and blue, or yellow
and purple);
• enlarge half of their design onto the half sheet of construction paper;
• label lightly the areas to be cut out which will be the negative areas of one half of the design and
will become the positive areas of the other half;
• cut the design out with a cutting knife using care and safety in the handling of the knife;
• reverse the half sheet and place it on the right side of the background paper and lightly trace
where the cut out pieces will go;
• re-reverse the half sheet and glue this same paper carefully to the left side of the background
sheet and proceed to glue the remaining pieces to the proper places on the right side of this sheet;
Unit 2 - Page 8
• Visual Arts- Open
•
•
mat or mount works for presentation and in small groups decide which to choose for display in
the room or school considering the endangered species represented by each;
critique the displayed works either by writing individually in their journals, or as a class verbally.
Assessment/Evaluation Techniques
• CGE7i – Teacher observation of student respect for the beauty and diversity of design in nature
• CR1.02 – Teacher observation of students working with tools and materials
• ANV.01 – Student self-/peer assessment of thumbnails for the choosing of their own best design
• AN1.02 – Group/peer assessment of the most successful design within their group for display to the
rest of the class
• THV.01, CRV.01, CR2.02 – Teacher assessment of the artwork
• ANV.01, AN1.02 – Student journal responses with teacher anecdotal comments
• THV.01 – Teacher evaluation of drawing journal process work with anecdotal comments and a
marking scheme
• THV.01, CRV.03, CR1.02, ANV.01, AN1.02 – Paper test to cover process of design, critical and
formal analysis of own and works studied
Accommodations
• For special needs students, the assignment may be executed as a drawing assignment using markers
or crayons instead of cutting with knives.
• A peer tutor or teaching assistant may be of help in designing and or executing the work.
• This assignment also be done on a computer using drawing software.
• For enrichment, a student could study the works of Escher where the figure and ground change
places and attempt to show this transition in an original drawing.
Resources
Books
Bevlin, Marjorie. Design Through Discovery. Toronto: Holt Rinehart and Winston, 1977.
ISBN 0-03-089701-7
Ragans, Rosalind. Art Talk, 2nd ed. New York: Glencoe McGraw-Hill, 1995. ISBN 0-02-640295-5
Roukes, Nicholas. Design Synectics. Worcester Mass: Davis Publications, 1988. ISBN 87192-198-7
Wong, Wucius. Principles of Two-dimensional Design. Toronto: Van Nostrand Reinhold, 1972.
ISBN 0-442-29565-0 486-20274-7
CD-ROMs
Arts in the Classroom, A Teacher’s CD-ROM Resource. Toronto: TCDSB/CCC, 1998.
Appendices
Appendix II, 1a – Design Evaluation Recorder
Appendix II, 2a – Positive/Negative Design Showing Symmetry
Unit 2 - Page 9
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Activity 3: What’s in a Name?
Time: 250 minutes
Description
The principles of three-dimensional design will be investigated in this activity which asks the students to
design a relief sculpture in cardboard based on their first names. Students will examine the significance
of the printed word as a symbol that communicates a message through the collection and study of various
fonts and then will experiment with the shapes and forms of letters in a formal exercise that separates
these letters from their meaning or context and focusses instead on their design features. The use of their
own names will make this activity personally relevant to them. Their study of fonts will be reinforced in
the next two design activities that focus on applied design.
Strands and Expectations
Ontario Catholic School Graduate Expectations
CGE4b - demonstrates flexibility and adaptability.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.01- demonstrates an understanding of the design process;
CRV.01 - produces a work designed around specific objectives and challenges;
CRV.02 - demonstrates the ability to take varied and creative approaches to using materials, tools,
processes, and technologies in studio activities;
CRV.03 - explains the importance of process in relation to the final product;
ANV.01 - describes the stages of the design process followed in a particular assignment;
ANV.02 - identifies sensory, formal, expressive, and technical qualities in their own works and works
studied.
Specific Expectations
TH1.02 - describes the steps of the design process (e.g., specifications, research, experimentation,
preliminary sketches, prototypes, revision, presentation, reflection);
CR1.02 - uses tools, materials, processes, and technologies safely and appropriately;
CR2.02 - demonstrates the ability to use an increasing range of tools, materials, processes, and
technologies in producing works of fine art and applied design;
CR2.04 - demonstrates an ever-expanding use of technology introducing artworks;
CR3.01 - uses appropriate visual arts vocabulary in describing materials and processes;
CR3.02 - develops sketchbooks, a portfolio, and/or planners that document their personal art process;
CR3.03 - demonstrates the ability to review and evaluate the creative processes they use, as well as the
resulting artworks;
AN1.01 - describes the stages of the design process followed in a particular assignment;
AN1.02 - analyses the formal composition of an example of artwork from personal and/or historical
works studied.
Planning Notes
• A supply of corrugated cardboard should be collected for use in this activity.
• Cutting knives, scissors, glue, and paint (white latex or gesso) need to be assembled in a central
location for this activity.
• Cutting surfaces (old pieces of millboard from discarded portfolios work well) need to be available
for cutting with the knives in order to protect table and drawing board surfaces.
Unit 2 - Page 10
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•
•
Access to computers for research into and printing of font samples is needed as well as a supply of
the more traditional magazines and newspapers.
Storage space for works to dry flat.
Prior Knowledge Required
• an understanding of the elements and principles of 3 dimensional design
• basic computer word processing skills
• basic skills with pencils, scissors, cutting knives, glue, and paint brushes
Teaching/Learning Strategies
1. The teacher will:
• illustrate/present through a series of visuals, how text is used in both fine and applied artworks.
Some examples might include: Egyptian frescoes with hieroglyphics, Chinese painted scrolls
with accompanying characters, The Arch of Constantine, with Roman text, Byzantine mosaics
with identifying texts, manuscript illuminations such as the Utrecht Psalter and the Title page
from the Book of Kells, Albrecht Dürer’s Adam and Eve, Gutenberg’s Bible, Picasso’s Still Life
with Chair-caning, Kurt Schwitter’s Merz Picture 19, Lautrec’s Jane Avril at the Moulin Rouge,
Liechtenstein’s Bam, Greg Curnoe’s Spring on the Ridgeway, as well as contemporary posters
and printed ads;
• review the elements and principles of 3-D design especially as they relate to the elements of form
and space;
• demonstrate how one’s name can be used as the basis of a formal design by changing the order,
size, position and shape of various letters in relationship to one another and to the picture plane;
• assign the collection of a variety of fonts from magazines, newspaper and the computer;
• confer with students to help them arrange and rearrange the letters of their names within a
rectangular framework to come up with an effective thumbnail design for this activity;
• demonstrate how to use a paper template of chosen fonts for chosen design (see Appendix II, 3b
– Templates for Containers, bags, and Boxes);
• demonstrate the cutting, building and gluing techniques for the activity;
• monitor and assist students where needed in the execution of the artwork;
• explain the properties of latex/acrylic paints re solubility and clean up and monitor student use of
this paint (Be sure students wear an apron or smock when using the paint as it will not come out
of clothing once it dries. Likewise brushes should be left in a plastic bag and cleaned at the end
of the class so that the paint does not dry in them).
2. The student will:
• participate actively in both small and large group viewing, review, and demonstration activities,
taking notes as required;
• draw thumbnails to demonstrate how the letters of their first name (or last if shorter) can be used
as the basis of a design. Letters should touch the edges of the rectangle in at least one place on
each of the four sides and should overlap as well as vary in position and size and case (see
Appendix II, 3b – Templates for Containers, Bags, and Boxes);
• choose their best design after consultation with the teacher and/or peers and create a large format
of this design in paper;
• consider, at this point, how relief will be incorporated into this design in order to have variety,
proportion, and balance of heights in the design;
• make paper templates for all letters, trace onto corrugated cardboard, and begin to cut out using
one to several layers of cardboard to achieve the low relief effect;
• arrange on background cardboard; revise design if necessary and glue into place;
Unit 2 - Page 11
• Visual Arts- Open
•
•
•
•
when finished and dry, paint with latex paint or gesso (two coats, 20 minutes apart) and allow to
dry;
turn over and paint lines (the Union Jack) from top to bottom, across the middle and diagonally
to prevent the cardboard from warping (see Appendix II, 3b – Templates for Containers, Bags,
and Boxes). Allow to dry;
in small groups, critique each others works choosing one to present to the rest of the class; have
them try to guess whose name is represented in each;
choose works from the class to put on display for the school in an appropriate venue.
Assessment/Evaluation Techniques
• ANV.01; ANV.02; AN1.02 – Teacher observation and checklist of viewing activities
• THV.01; CRV.01; CR2.04; CR3.02, 03; ANV.01; ANV.02 – Student teacher conferencing about
font collection, thumbnails, templates, and relief design in progress
• THV.01; CRV.01, 02; CR1.01, CR2.02 – Rubric/marking scheme of finished artwork
• CRV.03; CR3.01, 03; ANV.01; AN1.01, AN1.02 – Peer/self-critique and evaluation of finished
works and the design process
• TH1.02, CRV.03; CR3.01, 03; AN1.01, 02 – Paper test/quiz of design process and of works studied
Accommodations
• Special needs students could work with a teaching assistant or peer tutor in the execution of this
work. For a student with limited physical ability, the helper could do the cutting under the student’s
direction.
• A series of letters (copies of letters for relief) could be precut and the special needs student could be
involved in the arrangement and gluing aspects of the activity.
• For enrichment, a student could incorporate a specific colour scheme into the painting part of the
assignment with a particular design specification (e.g., a triadic colour scheme to show harmony and
emphasis or colours that have personal meaning for the student).
• This assignment could be done in a font other than that used in English (e.g., Arabic or Chinese
characters, hieroglyphics, Greek, Russian, Hebrew, etc.).
Resources
Books
Bennet, Bryan and Constance Bell. Discovering Canadian Art, Learning the Language. Scarborough:
Prentice-Hall Canada Inc., 1984. ISBN 0-13215310-6
MacGregor, Ron, Constance Hall, Bryan Bennett, and Ann Calvert. Canadian Art, Building a Heritage.
Scarborough: Prentice-Hall Canada Inc., 1987. ISBN 0-13-113010-2
Mittler, Gene. Art in Focus. New York: Glencoe McGraw-Hill, 1994. ISBN 0-02-662312-9
Ragans, Rosalind. Art Talk. 2nd ed. New York: Glencoe McGraw-Hill, 1995.ISBN 0-02-640295-5
Roukes, Nicholas. Design Synectics. Worcester Mass.: Davis Publications, 1988. ISBN 87192-198-7
Tambini, Michael. The Look of the Century. Toronto: Firefly Books Ltd., 1999. ISBN 155209-344-1
Walker, Don. Teaching Ideas for Media Literacy. Toronto: Toronto Catholic District School Board,
1998.
Wong, Wucius. Principles of Three-dimensional Design. Toronto: Van Nostrand Reinhold, 1977.
ISBN 0-442-29561-8
Unit 2 - Page 12
• Visual Arts- Open
Wong, Wucius. Principles of Two-dimensional Design. Toronto: Van Nostrand Reinhold, 1972.
ISBN 0-442-29565-0
Wong, Wucius and Benjamin Wong. Visual Design on the Computer. New York: Design Books,
distributed by Lyons and Bierford, 1994. ISBN 1558212981
CD-ROMs
Arts in the Classroom, A Teacher’s CD-ROM Resource. Toronto: TCDSB/CCC, 1998. (see Design File
for Lettering)
Appendices
Appendix II, 1a – Design Evaluation Recorder
Appendix II, 3b – Cardboard Reliefs
Activity 4: Sell Me Something
Time: 300 minutes
Description
Students are introduced to two-dimensional design as it relates to the applied art in activities that include
viewing and examining various types of two-dimensional applied design such as posters, CD covers,
magazine covers, web-page designs, etc. They will research a historical period related to one of these as
well as the skills required in various related careers, and will produce an artwork (poster, CD cover,
magazine cover, or web-page design) to “sell me something.” An investigation into the ethics of
advertising will help them to make appropriate choices in creating an applied art piece that takes into
account their own religious/cultural values to sell a product, place, or thing. The content of the design
will involve the concept of metamorphosis.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE3b - creates, adapts, evaluates new ideas in light of the common good;
CGE7b - accepts accountability for one’s own actions;
CGE7j - contributes to the common good.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.01 - demonstrates an understanding of the design process;
THV.04 - identifies the skills required in various visual arts and art-related careers;
CRV.01 - produces a work designed around specific objectives and challenges;
CRV.02 - demonstrates the ability to take varied and creative approaches to using materials, tools,
processes, and technologies in studio activities;
CRV.03 - explains the importance of process in relation to the final product;
ANV.01 - applies critical analysis to their artwork and works studied;
ANV.02 - identifies sensory, formal, expressive, and technical qualities in their own works and works
studied;
ANV.03 - describes interrelationships among art, the consumer, and the community.
Specific Expectations
TH1.01 - explains how compositions are altered by a change in design principles (e.g., contrast of lines
versus contrast of colour);
TH1.02 - describes the steps of the design process (e.g., specifications, research, experimentation,
preliminary sketches, prototypes, revisions, presentation, reflection);
Unit 2 - Page 13
• Visual Arts- Open
TH2.03 - produces a survey of a particular subject or medium though a period of time, noting stylistic
changes (e.g., posters, photography, typography);
TH3.01- explains how they have incorporated into their studio assignments characteristic materials and
expressive qualities of artworks studied;
TH3.02 - explains how their personal artworks have been influenced by works they have viewed in
galleries and museums;
CR1.02 - uses tools, materials, processes, and technologies safely and appropriately;
CR2.02 - demonstrates the ability to use an increasing range of tools, materials, processes, and
technologies in producing works of fine art or applied design;
CR2.03 - executes sketches and drawings in an increasing variety of media;
CR2.04 - demonstrates an ever-expanding use of technology in producing artworks;
CR3.01 - uses appropriate visual arts vocabulary in describing materials and processes;
CR3.02 - develops sketchbooks, a portfolio and/or planners that document their personal art process;
CR3.03 - demonstrates the ability to review and evaluate the creative process they use as well as the
resulting artworks;
AN1.01 - describes the stages of the design process followed in a particular assignment;
AN1.02 - analyses the formal composition of an example of artwork from personal and/or historical
works studied;
AN2.01 - explain how the formal organization of visual content (formalism) as well as the imitation of
visual life (imitationalism) can be used to create and think about works of art.
Planning Notes
• Visuals of applied design posters, magazine covers, CD covers, Web pages designs to use in viewing
activities and discussions about ethics in advertising can be found in books such as Creative Source
13 and 14, Advertising in America, and The Look of the Century as well as in the CD-ROM, MSSB
Document on Information Design, and in magazines and newspapers.
• Arrange to borrow the video, Still Killing Us Softly, from your Board or local library.
• Consider planning a field trip to the Design Exchange or a community college with a large applied
art program to see examples of applied design first hand.
• Be sure to have an adequate supply of drawing, painting materials, and papers, as well as scissors,
cutting knives, tape, and glue for the production of the artworks.
• A supply of magazines and newspapers would be very useful (see your librarian for old copies).
• Access to computers (maybe book a school lab if need be) for certain parts of the design and for
particular students will be necessary.
Prior Knowledge Required
• some knowledge of the elements and principles of two-dimensional design
• an understanding of the role played by text in a work of art as studied in the previous activity
• basic drawing, painting, cutting and gluing skills
Teaching/Learning Strategies
1. The teacher will:
• introduce the study of the applied arts through a viewing activity in small or large groups using a
number of visuals such as Lautrec’s poster of Jane Avril, Flagg’s famous poster Uncle Sam
Wants You, ads from contemporary stores, appropriate magazines covers, etc.;
• show the video, Still Killing Us Softly, as a starting point to an investigation and study of ethics
in advertising. Topics such as using sex to sell and targeting the underage with cigarette and
alcohol ads could be considered;
• introduce the concept of metamorphosis through viewing the works of Dali, Magritte, and Escher
Unit 2 - Page 14
• Visual Arts- Open
•
explain the design process in terms of the thumbnails being used to experiment with the layout of
the visuals with the text and background;
• present design specifications to give them some choices in picking a themes that allows them to
make a personal statement to reflect their religious/cultural perspective about the product chosen;
• allow students some choices concerning the size, materials used, tools, processes, and
technologies;
• conference with students about thumbnails, giving suggestions for improvements in designs and
concepts;
• demonstrate techniques and skills as required;
• evaluate finished artworks.
2. The student will:
• record information about applied arts and select one aspect of informational design to do an
historical survey of in the drawing journal. This should be a homework assignment where they
can use the Internet and other available resources to gather historical information;
• present views, and ideas about ethics in advertising and write a journal response about what they
see to be the advertiser’s role in responsible advertising. Consider target audience and the
marketing of a product, place, or thing to that audience;
• brainstorm in small groups to create a list of products, places, or things that could be advertised
in a poster, magazine cover, CD cover, or web page;
• having chosen a product, place, or thing, that is personally relevant to them, plan ways that
metamorphosis could be worked into the design;
• create two-three thumbnails of possible layouts for your design;
• investigate font types and colours for text by collecting samples from various sources in
journal/sketchbook;
• produce an enlarged working study of the visual demonstrating metamorphosis that will be the
centrepiece of artwork;
• experiment with various materials that might be used in executing the artwork;
• produce the artwork using appropriate materials, tools, processes, and technologies;
• matt or mount the finished work as required;
• present works to the class or to small groups trying to sell them on the product remembering
what they learned about ethics in advertising;
• select works to exhibit in a school display about ethics in advertising.
Assessment/Evaluation Techniques
• THV.04; CR3.01; ANV.02, 03; AN1.02; AN2.01 – rubric of student participation in viewing and
brainstorming activities
• THV.01; TH1.01; CRV.01; CR3.02, 03; ANV.01 – student/teacher conference about thumbnails and
design revisions
• CGE3b, 7b, 7j; THV.04; TH2.03; CR2.04; CR3.01, 02; ANV.03 – marking scheme for
drawing/journal activities
• CGE3b; THV.01; CRV.01, 02; CR1.02; CR2.02, 03, 04 – rubric to evaluate the finished artwork
• CGE3b, 7b, 7j; THV.04; TH1.01, 02; TH3.01, 02; CRV.03; CR3.01, 03; ANV.01, 02; AN2.01 –
paper test/quiz of design process and critical analysis of own works and works studied, as well as an
understanding of skills and careers in Informational Design and an understanding about target
audiences and the marketing of a product, place, or thing, ethical or otherwise
Unit 2 - Page 15
• Visual Arts- Open
Accommodations
• Special needs students may work with a teaching assistant or peer tutor to complete assignments.
• Extra time may be given to complete assignments or tests for a special needs student.
• The visual may be created from collaged images to show the metamorphosis and cut papers may be
used for the layout with lettering done on a computer.
• For enrichment, this design could be executed totally on a computer, scanning in images where
required and using paint, illustrator, or photoshop programs to manipulate images and text.
• Web pages could be designed using appropriate software; these pages could actually be used by the
student.
• Journal responses could be done on a computer or an audio tape if required.
Resources
Books
Adbusters Magazine. Vancouver: The Media Foundation, 1989. ISSN: 0847-9097
Bennet, Bryan and Constance Bell. Discovering Canadian Art, Learning the Language. Scarborough:
Prentice-Hall Canada Inc., 1984. ISBN 0-13215310-6
Creative Source 13. Toronto: Wilcord Publications, 1992. ISBN 09-2098621-8
Creative Source 14. Toronto: Wilcord Publications, 1993. ISBN 09-2098626-9
Duncan, Barry. Mass Media and Popular Culture. Toronto: Harcourt, Brace and Co., 1997.
ISBN 0-7747-0170-6
Escher, Merits C. The World of M.C. Escher. New York: Abradale Press/Harry Abrams, 1988.
ISBN 0-81-098084-3
Goodrum, Charles and Helen Darymple. Advertising in America, The First 200 Years. New York:
Abrams Inc. 1990. ISBN 0-8109-1187-6
Hubel, Vello and Diedra Lussou. Focus on Designing. Toronto: Glencoe McGraw-Hill, 1984.
ISBN 0-07-548661-X
Mittler, Gene. Art in Focus. New York: Glencoe McGraw-Hill, 1994. ISBN 0-02-662312-9
Ragans, Rosalind. ArtTalk. 2nd ed. New York: Glencoe McGraw-Hill, 1995. ISBN 0-02-640295-5
Roukes, Nicholas. Art Synectics. Worcester Mass.: Davis Publications, 1982. ISBN 0-87192-151-0
Roukes, Nicholas. Design Synectics. Worcester Mass.: Davis Publications, 1988. ISBN 87192-198-7
Tambini, Michael. The Look of the Century. Toronto: Firefly Books Ltd., 1999. ISBN 155209-344-1
Walker, Don. Teaching Ideas for Media Literacy. Toronto: Toronto Catholic District School Board,
1998.
Wong, Wucius and Benjamin Wong. Visual Design on the Computer. New York: Design Books,
distributed by Lyons and Bierford, 1994. ISBN 1558212981
Videos
Adbusters Video. (other title – Undercuts – TV program) 1995.
Still Killing Us Softly. 1987. 32 min.
Web Sites
Adbusters
www. adbusters. org
CD-ROMs
Arts in the Classroom, A Teacher’s CD-ROM Resource. Toronto: TCDSB/CCC, 1998.
Appendix
Appendix II, 1a – Design Evaluation Recorder
Unit 2 - Page 16
• Visual Arts- Open
Activity 5: Containers, Bags, and Boxes
Time: 300 minutes
Description
This unit involves students in researching about packaging design and in creating their own package
(e.g., some type of paper shopping bag or a one piece or two piece box container) to house a precious
object that is personally relevant to them. They must consider both the form and function of the container
as well as the visual, type, and layout of the design on the container. This activity combines threedimensional design with what they learned about two-dimensional information design in the previous
activity, Sell Me Something.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE7b - accepts accountability for one’s own actions;
CGE7j - contributes to the common good.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.01 - demonstrates an understanding of the design process;
THV.04 - identifies the skills required in various arts and art- related careers;
CRV.01 - produces a work designed around specific objectives and challenges;
CRV.02 - demonstrates the ability to take varied and creative approaches to using materials, tools,
processes, and technologies in studio activities;
CRV.03 - explains the importance of process in relation to the final product;
ANV.01 - applies critical analysis processes to their artwork and works studied;
ANV.03 - describes interrelationships among art, the consumer, and the community.
Specific Expectations
TH1.01 - explains how compositions are altered by a change in design principles;
TH1.02 - describes the steps of the design process (e.g., Specifications, research, experimentation,
preliminary sketches, prototypes, revision, presentation, reflection);
CR1.02 - uses tools, materials, processes, and technologies safely and appropriately;
CR2.02 - demonstrates the ability to use an increasing range of tools, materials, processes, and
technologies in producing works of fine art and applied design;
CR2.04 - demonstrates an ever-expanding use of technology in producing artworks;
CR3.01 - uses appropriate visual arts vocabulary in describing materials and processes;
CR3.02 - develops sketchbooks, a portfolio, and/or planners that document their personal art process;
CR3.03 - demonstrates the ability to review and evaluate the creative process they use as well as the
resulting artworks;
AN1.01 - describes the stages of the design process followed in a particular assignment;
AN1.02 - analyses the formal composition of an example of artwork from personal and/or historical
works studied.
Unit 2 - Page 17
• Visual Arts- Open
Planning Notes
The teacher will:
• collect a variety of bags, boxes, and containers to use when introducing the topic of packaging
design. Examples from books and magazines could also be used as well the works of Andy Warhol,
especially The Brillo Soap Boxes;
• provide a variety of cardboards and papers, for use in the activity (recycled materials such as
corrugated cardboard, wrapping papers, wall paper samples, tinfoil, shirt cardboards, newspapers and
magazines as well as classroom supplies of construction paper, rice, tissue, poster, metallic, velvet
papers, etc.);
• consider access to computers (e.g., perhaps by booking time in the computer lab) especially for
students to use different lettering fonts in their designs;
• supply various tools and materials need to be assembled in a central location (e.g., glues, staplers,
tapes, ropes, scissors, knives, drawing, painting media, etc.);
• consider a storage area for works in progress to be set aside.
Prior Knowledge Required
• an understanding of the elements and principles of two-dimensional and three-dimensional design
• an understanding of the relationship between form and function
• basic drawing and/or painting skills as well as cutting and gluing skills
Teaching/Learning Strategies
1. The teacher will:
• review with students the relevant part of Chapter 4 in ArtTalk or the Design file from the Arts in
the Classroom CD-ROM that refers to packaging design;
• introduce the topic of packaging design by having students brainstorm to make lists in small
groups of all the types of existing packaging they can think of;
• show students examples of packaging in order to demonstrate, the variety of possibilities within
our limitations of containers, bags, and boxes (e.g., a shopping bag from a clothing store, a box
for perfume, a box to hold a video game, a two-piece box to hold a piece of jewellery or, a
precious book, a bag to hold candy, etc.);
• assist students in deconstructing the various parts of a packaging design (e.g., the container shape
itself, opened out to see how it is constructed, the materials used, the types of glues, staples, etc.)
to build the package, the placement of visuals on the package, the use of type to identify the
product and the company logo, the use of colour and layout to pull the design together;
• examine with the class the way the packaging sells the product (e.g., identify the target audience,
analyse how the design of the package will appeal to this target, discuss the moral/ethical
implications for the product company in appealing to this audience (cigarette and beer
packaging). What responsibility does it have to the community or society?;
• help students to prepare a template for building a suitable container, box, or bag while
considering the ethical use of materials;
• assist students in examining the role of the visual, the type, and the layout in planning their
original designs;
• confer with students giving suggestions for improvements to original plans;
• demonstrate cutting, constructing, and gluing techniques (e.g., glue guns);
• oversee safe and appropriate use of tools and materials and efficient clean-up.
Unit 2 - Page 18
• Visual Arts- Open
2. The student will:
• review the role of a package designer by rereading the relevant parts of Chapter 4 in ArtTalk;
• brainstorm and make lists of types of packaging found in their lives;
• list skills required for a packaging artist;
• consider individually what objects are precious to them and why they are precious;
• examine what kind of packaging would be required to house their most precious object;
• research and collect examples of packaging that might help them to design packaging for their
chosen personal object;
• write a proposal in which they outline why the object is precious to them and how they would
like to design packaging for it, considering size, materials employed, shape, and surface designs;
• create thumbnails of original ways to package this product in drawing journals;
• create a template for the container or bag and cut out the container/bag (see Appendix II, 3a –
Cardboard Relief Based on a First Name);
• create a design (e.g., preliminary sketches in drawing journal) incorporating an appropriate visual
with a type/message and logo considering placement on the packaging and decoration of the
package;
• employ a variety of drawn, painted, collaged, computer-generated images and fonts to create the
artwork for their container;
• apply the artwork to the flat package and allow to dry;
• construct the package; allow to dry;
• in the drawing journal reflect upon the success of their design as an appropriate way to house
their precious object;
• as a class, with the teacher, evaluate the roles played by packaging in protecting and promoting a
product to a target audience. They will investigate the need for designers to be accountable for
the messages presented by packaging (e.g., cigarette and beer packages) and the need for them to
be critical consumers of these products so that they too are accountable for their purchases. By
their informed choices they too can contribute to the common good;
• in small groups or with the whole class, critique the finished results and choose examples to put
in a display case in the school community.
Assessment/Evaluation Techniques
• CGE7j; THV.04; TH1.02; ANV.03; AN1.02; CR3.01 – teacher observation of brainstorming and
viewing activities
• TH1.01; CR3.02; ANV.01 – student/teacher conferencing about chosen products and ideas of
designing for this product
• CGE7b, 7j; THV.01; THV.04, CRV.01; CR3.02; ANV.03 – marking scheme for drawing journal
activities: written and sketched plus collections assembled
• THV.01; CRV.01, 02; CR1.02; CR2.02, 03 – rubric/marking scheme for the finished package or bag
• CGE7b, 7j; CR3.03; ANV.01 – self-assessment of process and product
• TH1.01, 02; CRV.03; CR3.01, 03; ANV.03; AN1.01 – paper test of the design process and the
packaging design industry and related careers
Accommodations
• Students may be paired up for note-taking and collecting of examples in order that a good student
may help one needing special consideration.
• Demonstrations of all steps may be helpful to hearing impaired or visual learners.
• Special needs students may work instead on a collage about the varieties of packaging found in our
world.
Unit 2 - Page 19
• Visual Arts- Open
•
•
•
Assignment may be modified to allow for a special needs student to take a pre-existing package and
create their own design for the surfaces of the package to reflect the nature of the precious object
within.
Designing of the visual could be done on a computer then printed out and adhered to the packaging.
For enrichment a student could design and build a related series of packages to house several related
objects, like a set of Russian dolls, or a line of makeup.
Resources
Books
Adbusters Magazine. Vancouver: The Media Foundation, 1989. ISSN 0847-9097
Bennett, Bryan and Constance Bell. Discovering Canadian Art, Learning the Language. Scarborough:
Prentice-Hall Canada Inc., 1984. ISBN 0-13215310-6
Creative Source 13. Toronto: Wilcord Publications, 1992. ISBN 09-2098621-8
Creative Source 14. Toronto: Wilcord Publications, 1992. ISBN 09-2098626-9
Goodrum, Charles and Helen Dalrymple. Advertising in America, The First 200 Years. New York:
Abrams Inc., 1990. ISBN 0-8109-1187-6
Hubel, Vello and Diedra Lussou. Focus on Designing. Toronto: Glencoe McGraw- Hill, 1984.
ISBN 0-07-548661-X
Ragans, Rosalind. Art Talk. 2nd ed. New York: Glencoe McGraw-Hill, 1995.
ISBN 0-02-640295-5
Roukes, Nicholas. Art Synectics. Worcester Mass.: Davis Publications, 1982. ISBN 0-87192-151-0
Roukes, Nicholas. Design Synectics. Worcester Mass.: Davis Publications, 1988. ISBN 87192-198-7
Tambini, Michael. The Look of the Century. Toronto: Firefly Books Ltd., 1999. ISBN 155209-344-1
Walker, Don. Teaching Ideas for Media Literacy. Toronto: Toronto Catholic District School Board,
1998.
CD-ROMs
Arts in the Classroom, A Teacher’s CD ROM Resource. Toronto: TCDSB/CCC, 1998.
Videos
Adbusters Video. (Other title – Undercuts – TV program) 1995.
Still Killing Us Softly. 1987. 32 min.
Web Sites
Adbusters
www.adbusters.org
Appendices
Appendix II, 1a – Design Evaluation Recorder
Appendix II, 3b – Templates for Containers, Bag, and Boxes
Unit 2 - Page 20
• Visual Arts- Open
Appendix II, 1a
Design Evaluation Recorder
Student:
Teacher:
Strands and Expectations:
Design/
Everybody
EXP.
LEV.
Positive and
Negative
EXP.
LEV.
What’s in
name?
EXP.
LEV.
Sell Me
Something
EXP.
LEV.
Contain., Bags,
Box
EXP.
CGE: Ontario Catholic School Graduate Expectations
3b - creates, adapts, evaluates new ideas in light of common good
4b - demonstrates flexibility and adaptability
7b - accepts accountability for one’s own actions
7i – respects environment and uses resources wisely
7j - contributes to the common good
THEORY:
THV.01 - demonstrate an understanding of the design process
THV.04 - describe steps in the design process
TH1.01 - explain how compositions are altered by a change in design
principles
TH1.02 - describe the steps of the design process
TH2.03 - describe the steps of the design process
TH3.01 - explain how they have incorporated into their studio assignments
characteristic materials and expressive qualities of artworks studied
TH3.02 – explain how their personal artworks have been influenced by works
viewed in galleries and museums
CREATION:
CRV.01 - produce a work designed around specific objectives and challenges
CRV.02 - demonstrate the ability to take varied and creative approaches to
using materials, tools, processes, and technologies in studio activities
CRV.03 - explain the importance of process in relation to the final product
CR1.02 - use tools, materials, processes, and technologies safely and
appropriately
CR2.02 - demonstrate the ability to use an increasing range of tools,
materials, processes, and technologies in producing works of fine art and
applied design
CR2.03 - execute sketches and drawings in an increasing variety of media
CR2.04 - demonstrate an ever-expanding use of technology in producing
artworks
CR3.01 - use appropriate visual arts vocabulary in describing materials and
processes
CR3.02 - develop sketchbooks, a portfolio, and/or planners that document
their personal art process
CR3.03 - demonstrate the ability to review and evaluate the creative process
they use as well as the resulting artworks
ANALYSIS:
ANV.01 - apply critical analysis processes to their artwork and works studied
ANV.02 - identify sensory, formal, expressive, and technical qualities in their
own works and works studied
ANV.03 - describe interrelationships among art, the consumer, and the
community
AN1.01 - describe the stages of the design process followed in a particular
assignment
AN1.02 - analyse the formal composition of an example of artwork from
personal and/or historical works studied
AN2.01 - explain how the formal organization and imitation of life used to
create and think about artworks
Unit 2 - Page 21
• Visual Arts- Open
LEV.
Appendix II, 1b
Formalist Designs
Formalism is a theory of art which places emphasis on visual qualities in a work of art. The most
important thing about a work of art is the effective organization of the elements of art through the use of
the principles.
In a formalist design, there is no content except for the elements and principles used effectively together.
Doing a series of formalist exercises helps students understand how the elements and principles work
together to create a unified design.
• All eight assigned exercises are to be done in the drawing journal and are small in size so that four
could be done on one 9" x 12" (23 cm x 30 cm) sketchbook page.
• Each exercise should be neatly labelled.
The following are two examples of formalist exercises:
- harmony of colour
Geometric shapes
Lines2. - Gradation of line and space
- variety of texture
Unit 2 - Page 22
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Appendix II, 2a
Positive and Negative Design Showing Symmetry
Symmetry is a way of organizing the parts of a design so that one side duplicates or mirrors the other.
• Designs based on endangered species are symmetrically balanced and can be divided in half so that
the left side is a mirror image of the right side.
• Design will be executed on an 18” x 24” (45 cm x 60 cm) piece of construction paper.
• Create thumbnails in the drawing journal that are in a ratio to the finished product. Try 2.25” x 3”
(5.5 cm x 7.5 cm.)
• In the thumbnail, work out the black and white areas on one side of the design by colouring in one
shape black and leaving the one next to it white until this half of the design is complete.
• On the second half of the thumbnail, reverse the black and white areas (e.g., what is black on the left
side becomes white on the right side).
White Tiger design
Invented Butterfly Species design
Note: what is black on the left becomes white on the right.
• Enlarge half of the symmetrical design to fill half a sheet (9" x 24"/22.5 x 60 cm) of
construction paper (we are using black and white for our examples).
• Cut out the white areas of the design being sure to keep them all in a folder.
• Take the black half piece of paper; turn it over and place it on the white background
paper on the right side, then trace the cut out areas onto the white. This is where the
cut out pieces of black will be glued.
• Reverse the black paper on to the left side of the background paper and glue it in
place.
• Glue the remaining black pieces to the right hand side.
Reverse tracing with black spaces marked.
Unit 2 - Page 23
• Visual Arts- Open
Appendix II, 3a
Cardboard Relief Based on a First Name
•
•
•
Size to be 30 x 45cm (12" x 18")
Thumbnail designs should show a variety of fonts, sizes, cases, and letter positions.
Thumbnail designs showing two variations on the name Alex.
•
•
•
•
Choose the design that best uses the space and shapes.
Enlarge the design to 30 x 45 cm (12" x 18")on to a piece of cartridge paper.
Use this enlargement to trace templates of individual letters. (Trace whole letters, ignoring overlaps.)
Cut out paper template and place on a layer of corrugated cardboard. Trace and cut out the letter with
a cutting knife.
• As whole letters are arranged, decide which parts will overlap or under lap and cut accordingly.
• Next decide which letters or parts of letters to give a higher relief and trace those parts on additional
pieces of cardboard and cut out.
• Pile two to three layers of a letter one on top of the other to get the required relief.
• Arrange parts before gluing to ensure the best design re balance of relief and variety of shapes/forms
and spaces.
• Glue liberally with white glue and allow to dry overnight.
• When painting the cardboard relief, be sure to use two coats of paint on the front, at least 20 minutes
apart to allow for drying.
• When dry, turn over relief and paint the back as in the diagram.
Painting the back of the cardboard relief with the “Union Jack” to prevent warping.
Unit 2 - Page 24
• Visual Arts- Open
Appendix II, 3b
Templates for Containers, Bags, and Boxes
• Students should first sketch freehand the types of containers they wish to make.
• Next they should decide what size they wish the container to be. This will depend on the dimensions
of the precious object to be kept inside. Students need to determine length, width, depth of their
containers before drawing a model to scale.
• Next they need to study other similar bags or boxes taken apart to see how they have been
constructed.
• Draw a thumbnail first of the box or bag flattened out. Then, using this as a guide and their
measurements, draw the flattened container on a piece of cartridge paper (see below). This will be
the template for the container or box.
Thumbnails
Bag
1 piece box
2 piece box
Thumbnails of flattened containers with measurements written in centimetres.
Paper templates for the containers:
1 piece box
2 piece box
•
•
Dotted lines are folded.
Use measurements from thumbnails for drawing up full-scale templates using a ruler and pencil on
cartridge paper.
Unit 2 - Page 25
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Unit 3: The Art of Crafts
Time: 25 hours
Unit Description
This unit respects the artistic intention and craft of the artisan. Original works in the textile arts
(weaving, appliqué, quilting, needlepoint, fabric painting), pottery techniques, jewellery, glass,
papermaking, plaster and cement may be explored through discovery and selected activities. Teachers
will utilize Canadian artisans and their crafts as the main resource of this unit. The cottage industry (folk,
home-based business) and careers in crafts from the past and the present will be investigated (e.g., the
Bayeaux Tapestry, ancient pottery, Gothic stained-glass windows).
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations: CGE2b, 3a, 3e, 4b, 5g, 7i.
Strand(s): Theory, Creation, Analysis
Overall Expectations: THV.01, 03, 04; CRV.01, 02, 03, 04; ANV.01, 02, 03.
Specific Expectations: TH1.01, 02; TH2.01, 02; CR1.01, 02; CR2.01, 02; CR3.01, 02, 03; AN1.01,
03; AN2.01.
Activity Titles (Time + Sequence)
Activity 1 Introduction to the Art of Crafts
Choose three from 2-7
Activity 2 Creative Textile Arts
Activity 3 Ceramic Tiles
Activity 4 Handmade Jewellery
Activity 5 Stained Glass for Beginners
Activity 6 Papermaking
Activity 7 Handmade Bookmaking
Activity 8 Crafts and Marketing
120 minutes
420 minutes
420 minutes
420 minutes
420 minutes
420 minutes
420 minutes
120 minutes
Prior Knowledge Required
Students should be able to demonstrate their knowledge and application of the elements and principles of
design. They must also appreciate the need for safe practices in the art studio and safe handling of
various art materials.
Unit Planning Notes
•
Two classroom organization scenarios may be considered: either whole class activities (all students
work on the same activity simultaneously) or rotating activity centres (three or four activities are
worked on by small groups of students simultaneously). The use of three to four activity centers
(with six to nine students each) operating simultaneously avoids the expense of purchasing class sets
of tools for each activity. A smaller number of tools and equipment can suffice. The teacher could
begin the hands-on section (choose three of Activities 2-7) craft unit by teaching the basic techniques
and strategies for all three activities, followed by a simple assessment (diagnostic/formative) quiz to
insure basic understanding of concepts and procedures before students begin their first projects.
Individual and group conferencing and instruction would follow. Activities can be shortened or
lengthened as needed and are dependent on materials available as a result of specific department
budgets. Teachers will co-ordinate the acquisition of tools and equipment before unit begins.
Unit 3 - Page 1
• Visual Arts- Open
•
Depending on student choice, specific consumable materials may have to be purchased after students
have chosen their activities.
Contact local craftsperson for classroom presentation or arrange for class attendance at appropriate
local artisan/craft galleries, stores or shows (e.g., Canadian Clay and Glass Gallery in Waterloo, One
of a Kind Show in December and March each year, Toronto, local galleries specializing in crafts).
Teaching/Learning Strategies
The teaching/learning strategies for the craft unit involve teacher demonstration, viewing
art/presentation, individual instruction, questioning, roving conference, critique and self-evaluation,
research, independent and group work. Students will keep a “technique log and ideas book” that includes
all steps in the technical process of each craft studied plus personal reflections, images drawn, collected,
and pasted in to book. If using the activity centre model, students should know the theory for all activities
covered by other students within the unit even though they might actually choose only two or three of
these activities. The log should be a combination of written and illustrated information. It may also
contain preparatory thumbnail sketches for each chosen activity, as well as illustrations or reproductions
of craft images relevant to their own work.
Assessment and Evaluation
•
•
•
•
•
the technique log
formative quiz (pretest between teacher demonstration and student activities). This will ensure that
each activity group of students have sufficient preliminary knowledge for the success of three or four
simultaneous activities.
conferencing
self-, peer, and teacher evaluation
informal and intermittent presentation of finished crafts
Resources
Books
Bier, Barry. The Art of Stained Glass Made Easy. London: New Holland Lt., 1991. ISBN 1853682268
Bridgewater, Alan and Gill. Popular Crafts Guide to Pottery. London: Argus Books, 1986.
ISBN 0801977223
Caldwell, Mary. Handmade Scrapbooks. New York: Hearst Communications, Inc. 1999.
*Crawford, Gail. A Fine Line Studio Crafts in Ontario from 1930 to Present. Toronto: Dundurn Press,
1998. ISBN 1550023039
*Dierks, Leslie. Creative Clay Jewellery Designs to Make From Polymer Clay. Asheville, North
Carolina: Lark Books, 1994. ISBN 0937274747
Eaton, Connie. Circular Stained Glass Pattern Book. New York: Dover Publications, 1985.
ISBN 0486248364
Evans, Chuck. Jewellery. Worcester, Mass.: Davis Publications, 1998. ISBN 0871921413
*Fassett, Kaffe. Glorious Needlepoint. London: Ebury Press Random House, 1996. ISBN 0091776694
*Giorgini, Frank. Handmade Tiles Designing Making Decorating. Asheville, N.C.: Lark Books, 1994.
ISBN 0937274-76-3
Henkes, Robert. Art Projects Around the Calendar. Portland, Oregon: J. Weston Walch, 1991.
ISBN 08251011443
Hiebert, Helen. Papermaking With Plants: Creative Recipes and Projects. Storey Books, 1998.
ISBN 1580179870
Unit 3 - Page 2
• Visual Arts- Open
Jackson, Paul. The Pop-Up Book. New York: Henry Holt & Co., 1996. ISBN 0805028846
Krez, Carol. Flowers and Fruit Stained Glass Pattern Book. New York: Dover Publications, 1994.
ISBN 0486279421
*Kropper, Jean G. Handmade Books and Cards. Worcester, Mass: Davis Publications, 1997.
ISBN 0871923343
McCreight, Tim. Practical Casting. Worcester, Mass: Davis Publications, 1994. ISBN 096159845X
Nigosh, Leon I. Claywork: Form and Idea in Ceramics Design. Worcester, Mass: Davis Publications,
1994. ISBN 0871922851
Nigosh, Leon I. LowFire Other Ways to Work in Clay. Worcester, Mass: Davis Publications, 1980.
ISBN 0871921200
Peterson, Chris. The Art of Stained Glass Designs from 21 Top Glass Artists. Glouster, Conn.: Rockport
Publishers, 1998. ISBN 0891347070
Plowman, John. Plasterworks. Cincinnati: North Light Books, 1996. ISBN 0891347070
*Porcelli, Joe. Stained Glass Jewels of Light. New York: Friedman Publishing, 1998. ISBN 1567995500
Qualley, Charles. A Safety in the Artroom. Worcester, Mass.: Davis Publishing, Inc., 1986.
ISBN 087192174X
Ragans, Rosalind. ArtTalk, 2nd ed. New York: Glencoe-McGraw-Hill, 1998. ISBN 0026677008
*Read, William. 100 Craft Projects from Around the World Multicultural Art Experiences. Portland,
Maine: J. Weston Walch, 1982. ISBN 0825100070
*Rich, Chris. Stained Glass Basics Techniques, Tools, Projects. New York: Sterling Publishing Co.,
1996. ISBN 0806948779
*Rossol, Monona. The Artist's Complete Health and Safety Guide. New York: Allworth Press, 1990.
ISBN 0927629100
*Saddington, Marianne. Making Your Own Paper An Introduction to Creative Paper-making. Pownal,
Vermont: Storey Communications, Inc., 1993. ISBN 088266784X
*Sapiro, Maurice. Clay: Handbuilding. Worcester, Mass.: Davis Publications, 1997.
*Schuman, Jo Miles. Art from Many Hands Multicultural Art Projects. Worcester, Mass: Davis
Publications, 1981. ISBN 0871921502
Shannon, George and P. Tolen. Stained Glass Mosaics. New York: Sterling Publishing. 1998.
ISBN 1895569540
Sibbert, Ed. Art Deco Stained Glass Pattern Book. New York: Dover Publishing, 1977.
ISBN 0486235505
Sibbert, Ed. Historic Styles Stained Glass Pattern Book. New York: Dover Publishing, 1981.
ISBN 0486241769
Sprintzen, Alice. Crafts: Contemporary Design and Technique. Worcester, Mass: Davis Publications,
1987. ISBN 0871921804
Sprintzen, Alice. The Jeweler’s Art A Multimedia Approach. Worcester, Mass: Davis Publications, 1994.
ISBN 0871922797
Studley, Vance. The Art and Craft of Handmade Paper. New York: Dover Publications, 1977.
ISBN 0486264211
Toale, Bernard. The Art of Papermaking. Worcester, Massachusetts: Davis Publications, 1983.
ISBN 0871921405
*Thackeray, Beata. Papermaking Decorating Designing. New York: Watson-Guptil, 1998.
ISBN 0823038424
Walsh, Natalie. Easy Bookmaking: Thematic Pop-ups, Cards and Shape Books. Scholastic Trade, 1996.
ISBN 0823038424
Unit 3 - Page 3
• Visual Arts- Open
Wardell, Randy and Judy Huffman. Introduction to Stained Glass A Teaching Manual. Toronto: Thorn
Press, 1999. ISBN 0919985041
*Yow, Cathy. Jewellery From Nature. Asheville, North Carolina: Lark Books, 1998. ISBN 1579901077
Zakin, Richard. Hand-Formed Ceramics Creating Form and Surface. Radnor: Chilton Books, 1995.
ISBN 08019-8505
Web Site Search Words
*handmade ceramics; stained glass; papermaking; handmade books; handmade tiles; crafts; jewellery
making; needlepoint; quilting; appliqué; stitchery
Activity 1: Introduction to the Art of Crafts
Time: 120 minutes
Description
Students will be introduced to the concept of craft as art. They will learn to appreciate that well-crafted
items are based on the thorough use of elements and principles of design, have meaning and purpose, and
show evidence of specific skills. Students will demonstrate awareness that successful craftpersons
include spiritual, intellectual, social, and reflective components in their work.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE2b - reads, understands, and uses written materials effectively;
CGE3a - recognizes there is more grace in our world than sin and that hope is essential in facing
challenges;
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and
experiences;
CGE4b - demonstrates flexibility and adaptability.
Strand(s): Theory, Analysis
Overall Expectations
ANV.01 - applies critical analysis to their artwork and works studied;
ANV.02 - identifies sensory, formal, expressive, and technical qualities in the own works and works
studied.
Specific Expectations
TH3.04 - describes similarities and differences between careers in design and fine art;
AN1.03 - explains the significant expressive qualities of a work with reference to a list of possible
categories (e.g., sensory, formal, expressive, technical);
AN2.02 - demonstrates an understanding of the use of symbols in creative expression.
Planning Notes
The teacher will:
• read and/or have the students read appropriate chapters from A Fine Line Studio Crafts in Ontario
from 1930 to the Present about the history of crafts in Ontario;
• compile a variety of reproductions or slides on various craft forms, historical (e.g., Bayeux tapestry,
Inuit textiles, Chinese and Japanese paper arts, jewellery and ceramics from various historical
cultures) and contemporary (e.g., well-crafted modern ceramics, garden sculptures, jewellery, textile
arts, papermaking, bookbinding) drawing on student's experiences whenever possible.
Unit 3 - Page 4
• Visual Arts- Open
Prior Knowledge Required
Students should be able to demonstrate an understanding of the crucial role of the elements and
principles of design in the creation of well-crafted art objects, regardless of the culture or era in which
they were made.
Teaching/Learning Strategies
1. The teacher will:
• show students a variety of crafted items from different cultures and eras, using different media
(by means of actual items or slides, videos, books);
• pose questions for inquiry now and periodically as the unit's activities are attempted (e.g., What
is the nature of crafts? Should we distinguish between art and craft? Are art and craft part of a
continuum or really the same thing? What qualities are essential to a successful craftsperson?
Are various terms interchangeable: applied art, decorative art, design art, useful art, etc.? Are
there different roles for crafts and for art in various types of societies such as agrarian, nomadic,
industrial, information age societies, etc.? Would you rather be a fine artist or a craftsperson?
Why? How does chosen arts/craft career relate to lifestyle? Can you perceive spiritual,
intellectual, social, and reflective components in their work?).
2. The student will:
• in small groups, or pair/share, discuss these and similar questions;
• in small groups, analyse the design qualities as they relate to craft (use of elements and
principles) of various craft examples shown by the teacher.
3. The teacher will:
• introduce the role of each student’s personal technique log and ideas book, its purpose (e.g.,
record ideas, reflections, and techniques), content and format (e.g., notes, illustrations, teacher
handouts). Some time during most studio classes should be reserved for ongoing maintenance,
updating of, and reflections within each student’s personal technique log and ideas book. If more
appropriate, techniques could be covered in teacher handouts that would be attached to the log
pages and augmented and illustrated as necessary by the students. Some time during this first
activity may be set aside to ensure that all students have a technique log and ideas book ready for
the next activities.
Assessment/Evaluation Techniques
• ANV.01, 02; TH3.04; AN1.03, 2.02 – teacher observation of small group discussions
• ANV.01 – technique log and ideas book
Resources
Books
Crawford, Gail. A Fine Line Studio Crafts in Ontario from 1930 to Present. Toronto: Dundurn Press,
1998. ISBN1550023039
Fassett, Kaffe. Glorious Needlepoint. London: Ebury Press Random House, 1996. ISBN 0091776694
Thackeray, Beata. Papermaking Decorating Designing. New York: Watson-Guptil, 1998.
ISBN 0823038424
Note: Choose TWO (or three if time permits) of the following SIX activities (Activities 2 to 7)
Unit 3 - Page 5
• Visual Arts- Open
Activity 2: Creative Textile Arts
Time: 420-630 minutes
Description
Emphasizing the principles of design, students will create an original image of still life (e.g., based on a
theme of social justice, environmental preservation, or spirituality) in paint or pencil crayon and use it a
basis for textile arts (needlepoint, appliqué, or creative stitchery). They will become familiar with
contemporary and historical examples of textile arts and appreciate the attention to detail required of
textile artisans.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and
experiences;
CGE4b - demonstrates flexibility and adaptability;
CGE5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in
the work of others.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.01 - demonstrates an understanding of the design process;
CRV.01 - produces a work designed around specific objectives and challenges (e.g., composition issues,
subject matter, use of visual language);
CRV.02 - demonstrates the ability to take varied and creative approaches to using materials, tools,
processes and technologies in studio activities;
CRV.03 - explains the importance of process in relation to the final product;
ANV.01 - applies critical analysis to their artwork and works studied.
Specific Expectations
TH1.01 - explains how compositions are altered by a change in design principles (e.g., contrast of lines
versus contrast of colour);
TH1.02 - describes the steps of the design process (e.g., specifications, research, experimentation,
preliminary sketches, prototypes, revision, presentation, reflection);
CR1.02 - uses tools, materials, processes, and technologies safely and appropriately;
CR2.01 - demonstrates the ability to solve artistic problems and make creative choices when completing
artworks that reflect their concerns;
CR2.02 - demonstrates the ability to use an increasing range of tools, materials, processes, and
technologies in producing works of fine art and applied design;
CR3.01 - uses appropriate visual arts vocabulary in describing materials and presses;
CR3.02 - develops sketchbooks, a portfolio, and/or planners that document their personal art process;
AN1.01 - describes the stages of the design process followed in a particular assignment.
Planning Notes
The teacher will:
• assemble examples or reproductions of contemporary crafts (South American, Mexican textiles,
Mennonite quilts, Near east rugs, Inuit appliqué and creative stitchery, needlepoint of Kaffe Fassett)
and historical textile arts (e.g., Bayeux tapestry, religious vestments, ecclesiastical banners);
• assemble tools (various size needles, needlepoint stretching frames, embroidery hoops) and materials
(variety of threads, embroidery cottons, yarns, fabrics) necessary to chosen textile techniques. Some
materials may need to be purchased after students have decided upon their design and colour scheme.
Unit 3 - Page 6
• Visual Arts- Open
Prior Knowledge Required
Students should be able to demonstrate an understanding of the elements and principles of design and
how it relates to design composition.
Teaching/Learning Strategies
1. The teacher will:
• distribute textile artifacts (e.g., personal collections and samples obtained from teacher,
colleagues, students), reproductions or other images (e.g., slides, book or magazine illustrations)
of textiles from other cultures (contemporary and historical).
2. The student will:
• bring in samples of textile crafts (e.g., needlepoint, appliqué, creative stitchery, quilting, crochet,
embroidery, etc.) and in small groups, compare and contrast with artifacts and reproductions
above. Reference should be made to style, design elements, media, and potential inspiration for
own work.
3. The teacher will:
• demonstrate available media and techniques for a variety of textile projects available. Sample
techniques would include: needlepoint (e.g., Kaffe Fassett’s work); creative stitchery and
embroidery; appliqué and creative stitchery techniques (Inuit); quilting (Mennonite); rug hooking
(Indian Near East). Simple stitches can be used for most techniques, and diagrams can be
obtained in many needlework books.
4. The student will:
• record (e.g., personal notes taken during demonstrations, teacher handouts, illustrations) one or
two textile technique procedures in their technique log and ideas book;
• decide on medium and procedure, and create a series of preliminary sketches of still life, on
theme in technique log and ideas book, for chosen projects;
• produce a finished coloured still life image (e.g., paint, coloured pencil) on paper the exact size
of the proposed textile;
• using technical information from demonstration, complete the textile;
• display work in glass cases throughout studio or school including preliminary drawings,
paintings and/or research supporting project.
Assessment/Evaluation Techniques
• THV.01, TH1.01 – group discussion and feedback
• CR3.03 – students can share and critique each other’s technique log and ideas book for accuracy,
completion, use of illustrations and creative ideas
• TV12.02; CR2.01 – ongoing teacher evaluation through conferencing and questioning
• CR2.02 – students assist each other in ongoing formative assessment
Accommodations
• Alternative still life subject matter for textile image could be based on expectations in another
subject area (e.g., history, literature, religion, science).
• Special needs students may glue rather than stitch fabric pieces when using the appliqué technique.
• Enrichment students could produce more detailed, intricate, larger work in needlepoint, or perhaps a
group quilt project based on their own original design.
• Class project could entail hooking a rug which would then be donated to local charity.
Unit 3 - Page 7
• Visual Arts- Open
Resources
Books
*Crawford, Gail. A Fine Line Studio Crafts in Ontario from 1930 to Present. Toronto: Dundurn Press,
1998. ISBN1550023039
Fassett, Kaffe. Glorious Needlepoint. London: Ebury Press Random House, 1996. ISBN 0091776694
Sprintzen, Alice. Crafts. Worcester, Mass: Davis Publications, 1992.
Fassett, Kaffe. Glorious Patchwork: More than 25 Quilt Designs. Clarkson, Potter, 1997.
ISBN 0517708531
Sprintzen, Alice. Crafts: Contemporary Design and Technique. Worcester, Mass: Davis Publications,
1987. ISBN 0871921804
Activity 3: Ceramic Tiles
Time: 420-630 minutes
Description
Students will create original relief tiles in clay concentrating on form and texture. Themes for subject
matter should be based on social justice, respect for the earth and all God’s creations. In order to
emphasize the textural quality of the tile designs, simple decoration applications will be made to the
surface of the tiles, such as incising, engobes, clear glaze. Students will examine and use contemporary
and historical tiles as inspiration for their own designs.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and
experiences;
CGE4b - demonstrates flexibility and adaptability;
CGE5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in
the work of others;
CGE7I - respects the environment and uses resources wisely.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.01 - demonstrates an understanding of the design process;
CRV.01 - produces a work designed around specific objectives and challenges (e.g., composition issues,
subject matter, use of visual language);
CRV.02 - demonstrates the ability to take varied and creative approaches to using materials, tools,
processes, and technologies in studio activities;
ANV.02 - identifies sensory, formal, expressive, and technical qualities in their own works and works
studied.
Specific Expectations
TH1.01 - explains how compositions are altered by a change in design principles (e.g., contrast of lines
versus contrast of colour);
TH1.02 - describes the steps of the design process (e.g., specifications, research, experimentation,
preliminary sketches, prototypes, revision, presentation, reflection);
CR1.02 - uses tools, materials, processes, and technologies safely and appropriately;
Unit 3 - Page 8
• Visual Arts- Open
CR2.01 - demonstrates the ability to solve artistic problems and make creative choices when completing
artworks that reflect their concerns;
CR2.01 - demonstrates an understanding of the use of symbols in creative expression.
Planning Notes
The teacher will:
• co-ordinate the acquisition of tools (e.g., clay tools, rolling pins or bottles, water containers, paint
brushes, safety glasses, assorted small objects for texturing) and materials (white or red earthenware
clay, engobes, clear glaze, shoe polish, paint) needed;
• assemble a collection of sample contemporary ceramic tiles and/or reproductions (e.g., books, slides,
magazine images) from other eras and cultures (e.g., Greece and Rome, Middle Ages, Egypt, Near
East);
• be sure kiln and kiln shelving are ready for use;
• photocopy glossary (see Appendix III, 3a – Glossary for Ceramic Tiles).
Prior Knowledge Required
• be able to demonstrate an understanding of the elements and principles of design;
• have a basic understanding of the properties, strengths, and limitations of creating with clay;
• have an understanding for the need for safe handling of art materials.
Teaching/Learning Strategies
1. The teacher will:
• display and distribute ceramic artifacts and/or reproductions from the past;
• demonstrate or review basic clay techniques (e.g., wedging) and studio procedures, stressing
safety and use of elements of design, especially form, shape, and texture (see Appendix III, 3 a:
Glossary for Ceramic Tiles).
2. The student will:
• record all procedures in their technique log and ideas book;
• decide on design and procedure, and create a series of preliminary sketches, in technique log and
ideas book for projects;
• complete projects, stressing effective composition and creative non-firing decoration of finished
bisqueware;
• display work in studio or throughout the school;
Alternative Projects
− as an alternative to clay, students could use three-dimensional media with various techniques
and materials to create relief sculptures to be mounted on outdoor garden fences, patios,
decks or balconies (or used as indoor wall decorations). Plaster or cement could be poured
into a student created Plasticine mould to create effective relief castings. Found objects or
wood pieces (which would become part of the final product) could be laid onto the Plasticine
surface before the plaster or cement is poured into the mould;
• create and assemble a class ceramic tile project using one image or one theme (multiple images)
and permanently install in the school or church. Subject matter and images should relate to the
spiritual life and social outreach of the school or parish;
• use clay to create sculptures (e.g., based on animal pottery of the Americas), or useful vessels
(various containers).
Unit 3 - Page 9
• Visual Arts- Open
Assessment/Evaluation Techniques
• THV.01, TH1.01 – group discussion and feedback
• teacher/student conferencing
• THV.01, TH1.01 – students share and critique each other’s technique log and ideas book for
accuracy, illustrations, and creative ideas.
Accommodations
• Special needs students could paint glaze on preformed plain/purchased tiles which would be fired
and used as pot holders, coasters, and decorative tiles.
Resources
Books
Crawford, Gail. A Fine Line Studio Crafts in Ontario from 1930 to Present. Toronto: Dundurn Press,
1998. ISBN1550023039
*Giorgini, Frank. Handmade Tiles Designing Making Decorating. Asheville, NC: Lark Books, 1994.
ISBN 0937274-76-3
Nigosh, Leon I. Low Fire Other Ways to Work in Clay. Worcester, Mass: Davis Publications, 1988.
ISBN 0871921200
Plowman, John. Plasterworks. Cincinnati: North Light Books, 1996. ISBN 0891347070
Plowman, John. The Encyclopedia of Sculpture Techniques. Running Press, 1995. ISBN1561385328
Sapiro, Maurice. Clay: Handbuilding. Worcester, Mass: Davis Publications, 1997.
Sprintzen, Alice. Crafts. Worcester, Mass: Davis Publications, 1992.
Zakin, Richard. Hand-Formed Ceramics Creating Form and Surface. Radnor, Pa: Chilton Books, 1995.
ISBN 08019-8505-6
Activity 4: Handmade Jewellery
Time: 420-630 minutes
Description
Students will create personal jewellery using a variety of methods and media. Clay, polymer clay, wire,
stained glass as well as found objects and paper can be used to produce well designed items to adorn the
human body. Students will become acquainted with a sampling of jewellery styles used in various
cultures and the reasons for various cultural styles and materials in jewellery.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and
experiences;
CGE4b - demonstrates flexibility and adaptability;
CGE5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in
the work of others;
CGE7I - respects the environment and uses resources wisely.
Strand(s): Theory, Creation
Unit 3 - Page 10
• Visual Arts- Open
Overall Expectations
THV.01 - demonstrates an understanding of the design process;
CRV.02 - demonstrates the ability to take varied and creative approaches to using materials, tools,
processes, and technologies in studio activities;
CRV.03 - explains the importance of process in relation to the final product.
Specific Expectations
TH1.01 - explains how compositions are altered by a change in design principles (e.g., contrast of lines
versus contrast of colour);
TH1.02 - describes the steps of the design process (e.g., specifications, research, experimentation,
preliminary sketches, prototypes, revision, presentation, reflection);
CR2.02 - demonstrates the ability to use an increasing range of tools, materials, processes, and
technologies in producing works of fine art and applied design;
CR3.01 - uses appropriate visual arts vocabulary in describing materials and processes;
CR3.03 - demonstrates the ability to review and evaluate the creative processes they use, as well as the
resulting artworks.
Planning Notes
The teachers will:
• acquire and assemble tools (e.g., pliers, hammers, clay tools, paint brushes, safety glasses, soldering
gun) and materials (polymer clay, wire, clay, acrylic paint, spray vanish, jewellery thread, assorted
clasps and broach pins, glue, assorted wrapping paper, small found metal objects) needed for each
method of jewellery making chosen;
• assemble a collection of sample contemporary jewellery (throughout the twentieth century) and/or
visual/actual reproductions of jewellery from other cultures (e.g., Greece and Rome, Middle Ages,
African, Far East, American Native Peoples);
• review safety procedures and appropriate uses of materials (WHMIS manual).
Prior Knowledge Required
• demonstrate a basic understanding of the elements and principles of design;
• articulate the need for the need for safe handling of art materials.
Teaching/Learning Strategies
1. The teacher will:
• distribute jewellery artifacts and reproductions (e.g., images from books and magazines) of
jewellery from the past;
• discuss how choice of media relates to culture and geography/available materials.
2. The student will:
• bring in a variety of new and used jewellery, in small groups, compare and contrast with artifacts
and reproductions above with reference to style (e.g., ornate, simplified), design elements (e.g.,
line, shape, form, texture), media (e.g., metal, clay, wood), and potential inspiration for own
work.
3. The teacher will demonstrate available media and techniques for a variety of jewellery projects.
Sample techniques would include:
• filigree jewellery (bending thin wire into desired shapes using pliers);
• clay (shaped into beads, brooches, or pendants) textured, painted with acrylic paint or glazed.
String beads or glue shapes on to jewellery pins. (If glazing beads, use bead tree in kiln for firing
to avoid glaze touching kiln surfaces.);
• small polymer clay (Fimo) sculptures on pins or as beads;
• metal junk soldered together and soldered onto brooch pins or pendant forms;
Unit 3 - Page 11
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•
•
decorative paper scored, folded and shellacked and glued to jewellery brooch pins;
beaded headband or bracelets (Woodland Indian style);
small stained-glass creations (see Activity 6) to use as design element in pendants, brooches,
earrings.
4. The student will:
• record all procedures in their technique log and ideas books;
• create sketches based on their cultural experience and preferences;
• decide on medium and procedure, and create a series of preliminary sketches, in technique log
and ideas book, for chosen projects. Media chosen will effect design decisions and processes will
dictate some final results;
• create personal jewellery that reflects and demonstrates knowledge of their own culture and
knowledge of how media and technique specifics dictate design;
• adhere to all safety precautions pertinent to chosen media;
• display work in glass cases or other secure areas throughout the school.
Assessment/Evaluation Techniques
• THV.01, TH1.01 – group discussion and feedback
• conferencing
• CR3.03 – students can share and critique each other’s technique log and ideas book for accuracy,
illustrations, and creative ideas
Accommodations
• Special needs students may require peer assistance for activities require fine motor co-ordination.
• Class project could include organizing a show and sale (with proceeds going to charity).
• Create/design a jewellery piece based on a historical period (e.g., Ancient Egyptian, Mayan, etc.).
• Use found objects or natural items (e.g., sticks, stones) to create jewellery reflecting global
awareness.
Resources
Books
Crawford, Gail. A Fine Line Studio Crafts in Ontario from 1930 to Present. Toronto: Dundurn Press,
1998. ISBN1550023039
*Dierks, Leslie. Creative Clay Jewellery Designs to Make from Polymer Clay. Asheville, North Carolina:
Lark Books, 1994. ISBN0937274747
Evans, Chuck. Jewellery. Worcester, Mass: Davis Publications
Henkes, Robert. Art Projects Around the Calendar. Portland, Oregon: J. Weston Walch, 1991.
ISBN 08251011443
*Read, William. 100 Craft Projects from Around the World Multicultural Art Experiences. Portland,
Oregon: J. Weston Walch. 1982. ISBN 0825100070
*Sprintzen, Alice. The Jeweler’s Art: A Multimedia Approach. Worcester, Mass: Davis Publications,
1994. ISBN 0871922797
*Yow, Cathy. Jewellery from Nature. Asheville, North Carolina: Lark Books, 1998. ISBN1579901077
Unit 3 - Page 12
• Visual Arts- Open
Activity 5: Stained Glass for Beginners
Time: 420-630 minutes
Description
Students will learn the basics of creating with stained glass using the copper foil technique. They will
design and create a small, simple sun catcher based on individual reflection on environmental and/or
social justice themes. Traditional approaches to stained glass of the Gothic period will be compared with
contemporary use of the medium.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE3a - recognizes there is more grace in our world than sin and that hope is essential in facing
challenges;
CGE4b - demonstrates flexibility and adaptability;
CGE5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in
the work of others;
CGE7i - respects the environment and uses resources wisely.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.01 - demonstrates an understanding of the design process;
CRV.01 - produces a work designed around specific objectives and challenges;
CRV.02 - demonstrates the ability to take varied and creative approaches to using materials, tools,
processes and technologies in studio activities;
CRV.03 - explains the importance of process in relation to the final product;
ANV.02 - identifies sensory, formal, expressive, and technical qualities in their own works and works
studied.
Specific Expectations
TH1.02 - describes the steps of the design process (e.g., specifications, research, experimentation,
preliminary sketches, revision, presentation, reflection);
CR1.02 - uses tools, materials, processes, and technologies safely and appropriately;
CR2.02 - demonstrates the ability to use an increasing range of tools, materials, processes, and
technologies in producing works of fine art and applied design;
CR3.01 - uses appropriate visual art vocabulary in describing materials and processes;
AN2.02 - demonstrates an understanding of the use of symbols in creative expression.
Planning Notes
The teacher will:
• supply a variety of reproductions of stained glass from the Gothic period (e.g., Chartres Cathedral,
Notre Dame, Paris,) and contemporary local churches. Teacher should assemble a variety of images
of stained glass used in non-ecclesiastical applications (e.g., Tiffany stained glass, stained glass use
in architecture) as well as other modern glass techniques (e.g., glass blown dishes and containers,
jewellery);
• acquire necessary supplies e.g., glass cutters, glass, glass grinding machine, solder and solder iron,
pliers, flux and flux brushes, adhesive copper foil strips (e.g., 7/32" wide), safety glasses, small (1218") wood/Masonite squares to assemble, move and store work in progress, paper, glass cleaner, dish
detergent, newspapers, etc.);
• ensure a safe environment is provided for all students (e.g., adequate ventilation, safety glasses,
adequate glass storage).
Unit 3 - Page 13
• Visual Arts- Open
Prior Knowledge Required
• Students are able to apply their working knowledge of the elements and principles of design (e.g.,
colour theory).
• Students have basic awareness of the necessity of safe studio practices and proper ventilation.
Teaching/Learning Strategies
1. The teacher will:
• use reproductions and/or slides to illustrate the variety of uses, themes and techniques used in
stained glass from Middle Ages (e.g., Gothic cathedral stained glass windows) to modern times
(contemporary church windows, Tiffany glass, lamps, modern abstract use in private homes,
entrance door windows);
• show modern alternative treatments of glass (e.g., glass blowing);
• demonstrate each of the following steps as appropriate.
2. The student will:
• create a simple paper pattern within a circular or square format (maximum 6"/15 cm) based on a
chosen theme (e.g., literary, environmental, liturgical, social justice themes);
Note: To practise basic stained glass technique, small (2" x 3"/15 x 7.5 cm) practice designs could be
completed and later incorporated as pendants in jewellery activity or as Christmas tree ornaments;
• practice basic glass cutting techniques;
• cut glass (using specific colour scheme) into desired shapes to match pattern;
• wrap edge of each glass piece with thin strips of adhesive copper strips. Centre the edge of glass
on the copper strips;
• use pencil or dowel as a burnish to rub foil to secure it to all glass surfaces;
• clean work surface, set paper pattern on work surface and arrange foiled glass on pattern;
• apply flux to small area of two surfaces to be attached. Using solder and solder iron, tack each
piece of glass to each other in desired pattern;
• apply flux, carefully and smoothly, “run a bead” of solder to thoroughly cover each seam, one at
a time, on both sides of glass. Fluxed seams should be soldered immediately;
• make hooks and solder to finished stained glass item;
• clean off flux using small amount of dish detergent and baking soda in lukewarm water. Rinse
thoroughly and dry with clean cloth. Flux left on glass will cause glass to become cloudy;
• maintain appropriate notes with accompanying illustrations in their technique log and ideas book;
• include in their technique log, reference to the beginnings of use of stained glass windows for
Gothic cathedrals as well as modern use of the medium.
3. The student will:
• make notes on how their design relates to their personal response to environmental or social
justice issues.
Assessment/Evaluation Techniques
• THV.01; CRV.03; TH1.02; CR3.01 – evaluation of technique logs
• THV.01; CRV01, 02; ANV.02 – student/teacher conferencing
Accommodations
• Create small pendants to be used on jewellery or as Christmas tree ornaments.
• An alternative activity could be painting (oil paints or fabric paint) on glass or acetate (e.g., small
squares of glass edged in black bookbinding tape, bottles, drinking glasses, liturgical candle glass
containers).
Unit 3 - Page 14
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•
Special needs students might use tissue paper applied to glass surface.
Enrichment students, in small groups, could create a stained glass window for the school chapel, to
donate to community church or health facility.
Resources
Books
Bier, Barry. The Art of Stained Glass Made Easy. London: New Holland Ltd., 1991. ISBN 1853682268
Crawford, Gail. A Fine Line Studio Crafts in Ontario from 1930 to Present. Toronto: Dundurn Press,
1998. ISBN1550023039
Eaton, Connie. Circular Stained Glass Pattern Book. New York: Dover Publications, 1985.
ISBN 0486248364
Krez, Carol. Flowers and Fruit Stained Glass Pattern Book. New York: Dover Publications, 1994.
ISBN 0486279421
Peterson, Chris. The Art of Stained Glass Designs form 21 Top Glass Artists. Glouster, Conn: Rockport
Publishers, 1998. ISBN 1564964639
Porcelli, Joe. Stained Glass Jewels of Light. New York: Friedman Publishing, 1998. ISBN 1567995500
Rich, Chris. Stained Glass Basics. New York: Sterling Publishing Co., 1996. ISBN 0806948779
Shannon, George P. and G. Torlen. Stained Glass Mosaics. New York: Sterling Publishing, 1998.
ISBN 1895569540
Sibbert, Ed. Art Deco Stained Glass Pattern Book. New York: Dover Publishing, 1977.
ISBN 0486235505
Sibbert, Ed. Historic Styles Stained Glass Pattern Book. New York: Dover Publishing, 1981.
ISBN 0486241769
Wardell, Randy and Judy Huffman. Introduction to Stained Glass A Teaching Manual. Toronto: Thorn
Press, 1999. ISBN 0919985041
Activity 6: Papermaking
Time: 420-630 minutes
Description
Students will use the mould technique to make a variety of interesting and unusual papers for a variety of
purposes from various recycled paper sources and plant fibres. They will become more aware of the role
of the artist in the creative potential of making use of recycled materials from their manufactured and
natural environment.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE4b - demonstrates flexibility and adaptability;
CGE5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in
the work of others;
CGE7I - respects the environment and uses resources wisely.
Strand(s): Creation
Overall Expectations
CRV.02 - demonstrates the ability to take varied and creative approaches to using materials, tools,
processes, and technologies in studio activities;
CRV.03 - explains the importance of process in relation to the final product.
Unit 3 - Page 15
• Visual Arts- Open
Specific Expectations
CR2.02 - demonstrates the ability to use an increasing range of tools, materials, processes, and
technologies in producing works of fine art and applied design;
CR3.01 - uses appropriate visual arts vocabulary in describing materials and processes;
CR3.03 - demonstrates the ability to review and evaluate the creative processes they use, as well as the
resulting artworks.
Planning Notes
The teacher will:
• assemble required tools (e.g., mould and deckle or equivalent, electric blender, waterproof vat, press,
squares of felts or old woolen blanket, vat, bucket, jug, rolling pin or smooth glass bottle, wooden
spoon large plastic bottle for storing pulp, large funnel, iron) and materials (e.g., variety of scrap
papers, plant fibres, newsprint, clothes, sponges for mopping water);
• assemble a variety of sample handmade papers or reproductions of various papers;
• photocopy glossary (see Appendix III, 6a – Glossary for Papermaking).
Prior Knowledge Required
• demonstrate a basic knowledge of appropriate and safe handling of materials in the art studio
Teaching/Learning Strategies
1. The teacher will:
• organize studio teams for papermaking and demonstrate procedures when appropriate;
• ensure that there is adequate space for storage for pulp and drying paper.
2. The student will:
• tear recycled paper (e.g., photocopy paper, tissues, wrapping paper, brown bag paper, tissues,
envelopes, artists' papers) The higher the quality of paper, the smaller must be the sizes and the
longer the paper must be soaked in water (30 minutes for tissue paper to two to three days for
high quality art paper). If newspaper or magazines are used, they can be first boiled in detergent
to remove most of the ink;
• soak paper overnight (or use boiling water and soak two to three hours);
• make pulp by placing small handful of torn, wet paper and 2 cups/500 ml water in blender and
blend (e.g., 15-30 seconds) until the fibres separate. Note: it is best to blend for the shortest
length of time just so the papers disintegrate (if blended too long, fibres will be too short which
will produce a weak paper). Small bits of intact paper will add texture to your finished product;
• as pulp is made, continue to put into bucket or large bottle until you have enough for several
sheets (the equivalent of one full blender usually yields one small sheet of new paper);
• pour 2-4 cups/500-1000 ml of pulp into vat (large flat plastic dishpan/container) large enough to
hold the mould (a rectangular frame with mesh stretched across it to form a sieve for the pulp)
the size of desired finished paper;
• stir pulp and lower mould into vat vertically from the side, then horizontally, so that pulp rests
evenly inside mould;
• hold the deckle against top of mould and immerse in pulp. Remove from vat, shaking gently back
and forth over the vat. (Deckle is a removable open frame the same size (or slightly smaller) than
the mould which rests on top of the mesh and contains the pulp within the surface of the screen.)
Drain for 30+ seconds. Remove the deckle. Sheets can be dried in the mould or pressed between
sheets of newspaper, felt, etc. which is weighted with a brick;
Unit 3 - Page 16
• Visual Arts- Open
Note:
• various plant fibres are also suitable for papermaking (e.g., Canna lily, cattail, celery, iris, corn
stalks and husks, flower petals, leek, onion, sisal, yucca);
• dyes from magazine papers will create papers with various colours;
• paper can be tinted with various natural (e.g., tea, coffee, plant dyes) and artificial colourants.
3. The teacher will:
• explore the idea of using recycled materials as an art medium;
• encourage students to experiment with various waste papers, share their discoveries with each
other, and keep meticulous records of their technique so that desired results can be duplicated.
4. The student will:
• use their new handmade paper as a basis for an artwork (e.g., drawing, painting, cards, sign,
paper sculpture).
Assessment/Evaluation Techniques
• CRV.02, 03 – conferencing
• CR3.01, 03 – technique log for accuracy and recorded experiments
Accommodations
• If papermaking is not a viable option, alternate paper crafts could include paper sculpture and papier
mâché activities that utilize recycled materials.
Resources
Books
Bell, Lilian A. Plant Fibres for Papermaking. McMinnville, Oregon: Liliaceae Press, 1988.
Kropper, Jean G. Handmade Books and Cards. Worcester, Massachusetts: Davis Publications, 1997.
ISBN 0871923343
Richardson, M. Plant Papers. Hereford: Berrington Press, 1986.
*Saddington, Marianne. Making Your Own Paper An Introduction to Creative Paper-making. Pownal,
Vermont: Storey Communications, Inc. 1993. ISBN 088266784X
Studley, Vance. The Art and Craft of Handmade Paper. New York: Dover Publications, 1987.
ISBN 0486264211
Toale, Bernard. The Art of Papermaking. Worcester, Mass: Davis Publications, 1983.
ISBN 0871921405
*Thackeray, Beata. Paper Making Decorating Designing. New York: Watson-Guptil, 1998.
ISBN 0823038424
Unit 3 - Page 17
• Visual Arts- Open
Activity 7: Handmade Bookmaking
Time: 420-630 minutes
Description
Students will create a simple book for a specific purpose (e.g., family stories, poems, album of
photographs, recipes, list of practical ideas for improving the natural environment, art book) chosen from
a variety of styles and forms. Elements and principles of design will be stressed. Students will be
introduced to the history of bookbinding and the effect that book development has had on the cultural
development of various societies (e.g., monasteries, the Catholic Church, etc.).
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE4b - demonstrates flexibility and adaptability
CGE5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in
the work of others;
CGE7I - respects the environment and uses resources wisely.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.03 - explains the social and historical context and the chronology of distinctive styles;
CRV.01 - produces a work designed around specific objectives and challenges (e.g., composition issues,
subject matter, use of visual language);
CRV.02 - demonstrates the ability to take varied and creative approaches to using materials, tools,
processes, and technologies in studio activities;
ANV.01 - applies critical analysis to their artwork and works studied.
Specific Expectations
TH3.01 - explains how they have incorporated into their studio assignments characteristic materials and
expressive qualities of artworks studied;
CR1.02 - uses tools, materials, processes, and technologies safely and appropriately;
CR2.01 - demonstrates the ability to solve artistic problems and make creative choices when completing
artworks that reflect their concerns;
AN1.01 - describes the stages of the design process followed in a particular assignment.
Planning Notes
The teacher will:
• assemble required tools (e.g., needles, metal rulers, set square, cutting matt, cutting knives, awls or
electric drill, leather hole punch, paperweights, book press or boards and c-clamps) and materials
(variety of papers, preferably some papers created in Activity 6 if it has been sized, newsprint, PVA
glue, glue stick, thread, non-stick paper such as waxed paper);
• assemble a variety of samples or reproductions of various book styles (e.g., miniature book, scrolls,
fold-out, pop-up, accordion style);
• photocopy the glossary (see Appendix III, 7a – Glossary for Creating Handmade Books).
Prior Knowledge Required
• The student will be able to demonstrate a basic knowledge of the elements and principles of design.
Unit 3 - Page 18
• Visual Arts- Open
Teaching/Learning Strategies
1. The teacher will:
• present a brief history of the value and impact of books and the printed word on human history
(Egyptian papyrus scrolls, Chinese bamboo scrolls, handwritten Middle Ages illustrated
manuscripts, Gutenberg's 1450 printing press, as a tool of education and communication);
• display, if available, books from the last hundred years used for various purposes (e.g., compare
school texts, children's books, specialty books and cards of 1930s with modern versions of same,
etc.).
2. The student will:
• discuss, or do group or individual research on, a specific aspect of the history of books and
present findings.
3. The teacher will:
• explain terms (e.g., pamphlet binding, Japanese stab binding, crossed-ribbon binding, concertina
or accordion binding, endpapers, spine), and basic techniques of handmade books and illustrate
various forms and purposes of books.
4. The student will:
• brainstorm, in small groups, ideas for the form and purpose (e.g., pamphlet binding, scroll,
accordion style, pop-up), and purpose (e.g., family stories, poems, album of photographs, recipes,
ideas for cleaning up the environment, drawing book, art book) of their own books;
• create a series of preliminary drawings, in storyboard format, based on the content and purpose
of their book;
• choose a form and shape of book appropriate to their chosen content. Various creative formats
may be used (e.g., scrolls, fans, blinds, French door format, miniature books, various shaped and
cut papers, fold-out and pop-up books, accordion style);
• create and assemble book;
• using revised storyboard, draw, write, paint, and glue the contents into the book;
• display and present final products to classmates.
Assessment/Evaluation Techniques
• TH3.01 – conferencing
• AN1.01 – technique log assessment for accuracy and ideas
• CRV.01, 02 – class presentation and critique of final products
Accommodations
• Enriched activities could involve a large class book on a social justice or other specific theme.
• Special needs students may use an existing blank notebook to illustrate their story.
• Alternate activities involving paper crafts could include origami, fine paper cutting (symmetrical
Polish paper cutting or asymmetrical traditional and contemporary Chinese paper cutting) or creating
paper kites (e.g., traditional Japanese kite making).
Resources
Books
Caldwell, Mary. Handmade Scrapbooks. New York: Hearst Communications, Inc. 1999.
Jackson, Paul. The Pop-Up Book. New York: Henry Holt & Co., 1996. ISBN 0805028846
*Kropper, Jean G. Handmade Books and Cards. Worcester, Mass: Davis Publications, 1997. ISBN
0871923343
Unit 3 - Page 19
• Visual Arts- Open
*Saddington, Marianne. Making Your Own Paper An Introduction to Creative Paper-making. Pownal,
Vermont: Storey Communications, Inc. 1993. ISBN 088266784X
Studley, Vance. The Art and Craft of Handmade Paper. New York: Dover Publications, 1987.
ISBN 0486264211
Toale, Bernard. The Art of Papermaking. Worcester, Massachusetts: Davis Publications, 1983.
ISBN 0871921405
*Thackeray, Beata. Papermaking Decorating Designing. New York: Watson-Guptil, 1998.
ISBN 0823038424
Activity 8: Crafts and Marketing
Time: 120 minutes
Description
Students will become more aware of display and marketing of fine crafts and the challenges of this type
of arts career. This activity will include a talk or slide show by a guest craftsperson or a visit to a local
craft store/studio, artisan show (e.g., One of a Kind Craft Show in Toronto) or craft gallery (e.g.,
Canadian Clay and Glass Gallery, Waterloo).
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and
experiences;
CGE5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in
the work of others.
Strand(s): Theory, Analysis
Overall Expectations
THV.04 - identifies the skills required in various visual arts and art-related careers;
ANV.03 - describes interrelationships among art, the consumer, and the community.
Specific Expectations
TH3.04 - describes similarities and differences between careers in design and fine art.
Planning Notes
The teacher will:
• contact appropriate craftsperson, store, or gallery and arrange for visit or excursion as appropriate;
• alternatively, if excursions or guest artisans are not possible, many excellent craftspeople and artisans
are featured on videos that can be obtained from the National Film Board, Ottawa.
Prior Knowledge Required
• Students should have experienced chosen activities in the crafts unit before beginning this final
activity.
Unit 3 - Page 20
• Visual Arts- Open
Teaching/Learning Strategies
1. The teacher and student will:
• collaboratively review the information, creative processes, and concepts from the previous crafts
activities and discuss the role of artists and craftspeople in light of the concept of grace and hope
in our world (CGE3a).
2. The student will:
• revisit the discussion questions from Activity 1 and ascertain to what extent their reflections may
have altered after actively experiencing the process of creating well designed crafts in the
subsequent activities (e.g., What makes good crafts? What qualities does a craftsperson need to
be successful?).
3. The teacher will:
• lead a discussion about display techniques, marketing concepts and concerns related to selling
crafts;
• discuss the logistics of the class trip to an appropriate artisan shop or craft show; or introduce the
guest speaker.
4. The student will:
• in small groups, have previously decided on appropriate questions (based on marketing, display, and
crafts as a career) to be posed to the community craftsperson (during guest visit or class excursion)
and how this information will be shared with classmates (e.g., group discussion after the event). This
could form the basis for the assessment for this activity;
• visit the artisan store or craft show, collect data, and compile answers;
• share reactions and information from this activity with fellow students.
Assessment/Evaluation Techniques
• THV.04; ANV.03; CRV.02 – student-generated assessment tool (e.g., questionnaire, small group
report, class discussion) based on guest speaker or class excursion
Accommodations
• Arrange for wheelchair accessible bus, if required.
• Enrichment students could interview, in greater depth, a local artisan and submit a report.
Resources
Books
Crawford, Gail. A Fine Line Studio Crafts in Ontario from 1930 to Present. Toronto: Dundurn Press,
1998. ISBN 1550023039
Fassett, Kaffe. Glorious Needlepoint. London: Ebury Press Random House, 1996. ISBN 0091776694
Other
Decorative Arts slide set Worcester, Mass: Davis Publications, 1995.
*various local craftspeople and artisans
Unit 3 - Page 21
• Visual Arts- Open
Appendix III, 3 a
Glossary for Ceramics Tiles
Ball Clay: A creamy grey clay that can be fired to a high temperature and is the basis of many
earthenware bodies.
Battens: Wooden sticks used as slab-rolling guides and glazing aids.
Bisque: Pottery fired once but not glazed.
Casting: Liquid clay is poured into a plaster mould, which absorbs the water from the clay which then
shrinks away from the plaster and becomes a “caste.”
China Clay: A very white clay used in china, porcelain, and earthenware bodies.
Clay: Matter from the earth which is the basis of all pottery bodies which must be able to withstand
firings.
Coiling: A method of hand building pottery by joining rolled coils or “snakes” of clay.
Combing: A method of decorating with wet slips which are stroked and combed with feathers, etc.
Crackle: Deliberate, slight cracking in glaze surface used as a decorative feature
Crazing: Same as crackle but unwanted and unintentional.
Earthenware: Low-fired pottery ware.
Engobe: Various coloured slips used as decoration on different coloured clay (e.g., white slip painted on
red earthenware).
Firing: Placing dried, formed clay in a kiln which is heated in a controlled way to chemically change the
clay into pottery.
Glaze: A glassy coating, which must be fired, that covers a clay item.
Greenware: Dried, unfired clay items.
Grog: Ground up and fired clay which is added to unfired clay bodies to reduce shrinkage when drying.
Well suited to clay sculpture.
Kaolin: China clay.
Kiln: A potter’s fire, furnace or oven, used fired by gas or electricity.
Leather-Hard: Clay that has started to dry but is still slightly workable (e.g., created form retains it
basic shape but can still be incised).
Overglaze: Painting glaze on a clay object that has already been glazed and fired, and then refired at a
lower temperature.
Plastic: Clay that is easy to work with is described as being "plastic."
Porcelain: A white, translucent pottery.
Sgraffito: To cover a pot with slip and then scratch through the slip to reveal the clay colour
underneath.
Slip: Clay mixed with water, poured into plaster moulds or used to decorate clay.
Terra Cotta: Fired but unglazed red-brown earthenware.
Throwing: To make pots with a potter's wheel.
Underglaze: Colours painted on unfired clay, dried, and then fired and glazed again.
Wedging: Kneading the wet clay to remove air bubbles.
Unit 3 - Page 22
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Appendix III, 6a
Glossary for Papermaking
Agitating: Stirring the slurry in the vat to keep the fibres suspended before making a sheet.
Artist’s Paper: A heavyweight uncoated paper used for watercolour painting.
Bookbinding: Breaking down plant matter into fibres by extracting the non-cellulose material.
Casting: Pouring wet paper pulp into a casting mould to make relief or three-dimensional paper.
Coated Paper: Paper coated with a substance that gives it a smooth, less absorbent surface more
suitable for fine quality printing.
Couching: Transferring wet layers of fibres from the mould face to the felt.
Deckle: A wooden frame, containing the pulp fibres, held against the mould when making a sheet of
paper.
Deckle Edge: The rough outer edges of a sheet of handmade paper, created in a deckle.
Embedding: Inserting a decorative element into fibres of a sheet during the papermaking process.
Embossing: Impressing a texture or image into the fibres of a sheet of paper in the process so that it
appears in relief.
Face: The wire mesh covering the mould.
Felt: A woven or felted blanket of natural fibre or wool onto which the wet layer of fibres is laid
(couched).
Fibres: The substance, from which a sheet of paper is formed, resulting from beating plant fibres, wood,
recycled paper.
GSM: Weight measurement of paper (e.g., grams per square metre).
Marbling: Floating patterns of paint onto a size surface and transferring them onto paper.
Mould: The wooden frame stretched with a wire mesh on which a sheet of paper is formed.
Paste Painting: Applying paint to damp paper surface and working pattern into it when wet.
Post: A mound of couched sheets ready for pressing.
Press: Any device used to extract water from layers of couched fibres to flatten paper.
Pulp: A collection of macerated fibres (e.g., recycled paper, wood, various plant materials) used to make
new paper.
Size: A gelatin or starchy solution that is added to the papermaking process to make the sheet less
absorbent.
Slurry: A mixture of pulp diluted with water from which a sheet of paper is created.
Vat: A container in which the slurry (pulp mixture) is kept.
Waterleaf: Paper which is not treated with sizing.
Watermark: A faint image seen in paper when held to the light, created by a feature of the mould
surface.
Unit 3 - Page 23
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Appendix III, 7a
Glossary for Creating Handmade Books
Acid Free Paper: Paper that is chemically neutral on the pH scale and thus will not break down
chemically or change over time. Can last as long as 300 years.
Accordion Book: See Concertina Book.
Album Binding: A simplified stab binding that can be undone, pages can be added or removed, and the
book can be reassembled (e.g., hardcover scrap books and photo albums).
Archivite: A dense cardboard made for book binding.
Artist’s Book: A book that is a piece of art in itself which may be filled with artist's own images and
reflections. It may be one of a kind or editioned.
Boards: Generic term for cardboard, grey board, archivite, or other material used for the cover of books.
Burnishing: Rubbing or applying pressure with an instrument to papers and boards that have been glued
together to expel air bubbles and ensure a smooth surface.
Case-bound Book: Book whose cover (case) is made separately from the book and added later.
Concertina Book: A book whose binding is formed by accordion, or zigzag, folds on a long strip of
paper. The folds crate the pages of the book. (Also known as accordion or leporello book.)
Cover Stock or Cover Paper: Paper that is 80-100 lb, the correct weight for a cover or a card.
Cutting Board or Cutting Mat: Special cutting surfaces, usually with self-sealing vinyl surfaces that
will not dull knife blades.
Deboss: To lower the surface of paper in the shape of a design in relief.
Disappearing Fore-edge Painting: A painting done on the fore edge of a book while its pages are
flexed. The painting is not visible when the book is closed (pages not flexed).
Dos-a-dos: (“back to back” in French) A traditional book format when two related books are bound
together with a common back cover.
Dummy: A mock-up or pretend book used as a model of the finished book to aid in planning.
Edition: A group of identical copies of the same book printed at the same time.
Editioning: The process of making multiple, identical copies of a book.
Emboss: To raise the surface of paper in the shape of a design in relief.
Endpaper: The paper on the inside of the front and back covers of a book which often continue across
the crease to become the first free leaf between the cover and the text. Endpapers are often decorated but
are not given numbers.
Flysheet or Flyleaf: The first or second free page inside a book cover before the text.
Folio or Fold: A single sheet of paper that has been folded once. It becomes two leaves or four pages or
sides.
Fore Edge: The edge of the book that opens opposite the spine.
Format: A book’s design - its style, size, page layout, typography, and binding.
French-door Format: A book that hinges from both the right and left sides, like French doors.
Goffer or Gaufer: An old technique of gilding and hammering designs into a book’s edges.
Grain: The cellulose fibres in paper that are aligned parallel to one another in papermaking. Folds made
parallel to the grain will be straighter and more durable than those made across the grain.
Grain Direction: The orientation of the fibres within a sheet of paper.
Gutter: The inside margin or white space on a page between the type and the spine.
Unit 3 - Page 24
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Appendix III, 7a (Continued)
Hinge: The point where a cover bends to open.
Leaf: A sheet of paper in its entirety including both sides of the paper.
Leather Punch: A tool used to punch holes in covers or in a stack of papers. It is usually struck with a
hammer.
Methyl Cellulose: An acid-free, vegetable-based sizing or adhesive commonly sold by bookbinding
suppliers.
Mitre: To taper or cut the corners at an angle before joining.
Mock-up: See Dummy.
Mountain Fold: A fold that points upwards like a mountain.
Needles: Two kinds are used for bookbinding: sharp pointed embroidery needles (also used for piercing
holes) and blunt-tipped tapestry needles.
One-off or Unique: Meaning only one copy of a book was made.
Open Content: Book whose content had not been determined at time of binding (e.g., scrap book,
diaries)
Page: One side of a sheet of paper.
Pamphlet Stitch or Pamphlet Binding: A simple binding technique used to connect a number of
folded sheets of paper (folios) in a soft cover.
Paste: Reversible adhesive made from wheat or rice flour and used for attaching paper to paper. Can be
either acid-free or non acid-free.
PVA (polyvinyl acetate) or White Glue: A flexible, fast drying, non-reversible adhesive used on paper
or cardboard. Can be either acid-free or non-acid-free.
Scriptorium: A room where medieval monks or nuns copied manuscripts.
Sequencing: The process of determining the order of a book’s content.
Set Content: A book’s content that is complete at the time of binding.
Sewing Station: A hole pierced in a book for binding.
Sizing: A chemical added to paper to increase its strength and reduce its absorbency. It fills in the
crevices between the cellulose fibres and prevents ink or paint from bleeding when applied to the paper.
Soft Edge: An irregular torn or deckle edge on handmade paper.
Spine: A book’s back edge where the pages are sewn or glued together.
Square Knot or Reef Knot: A common, very strong double knot used to connect two threads together.
Star Book or Star Card: A book or card, made from folded, glued squares of paper that has a star shape
when opened.
Tail: The lower horizontal edge of a book when held upright.
Text Pages or Text Book: The pages between the cover that contain the contents of the book.
Text Paper: Paper with suitable weight (e.g., 20-24 lb) suitable for the text pages of the book.
Valley Fold: A fold that points down like a valley.
Vellum: Paper or parchment that is off-white, sturdy, and has a waxy translucent look.
Weaver’s Knot: A knot used for joining a new thread to an old one in the middle of a binding.
Weight: Weight, or thickness, of a paper should be appropriate for its use. Measured in grams per
square metre (e.g., 170-260 gsm) or pounds per square yard (e.g., 80-100 lb)
(Glossary for Creating Handmade Books, adapted from Jean G. Kropper's: Handmade Books and Cards, pp. 142-144)
Unit 3 - Page 25
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Unit 4: Fine Art – Express Yourself
Time: 25 hours
Unit Description
In this unit, the student will consider important relationships they have in their lives. They will explore
and create images through two major works of art, one in two dimensions and one in three dimensions,
using traditional and non-traditional materials. The students will extend the expressive possibilities of the
elements and principles of design. Preliminary drawings and exploration of mediums will serve as the
foundation for the finished products.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations: CGE3a, c, 4a, 5g, 6a, c, 7i.
Strand(s): Theory, Creation, Analysis
Overall Expectations: THV.03; CRV.01, 02, 03; ANV.01, 02, 03.
Specific Expectations: TH2.01, 02; TH3.01, 02; CR1.01, 02; CR2.01, 02, 03; CR3.01, 02, 03;
AN1.02, 03, 04; AN2.01, 02, 03.
Activity Titles (Times + Sequence)
Teachers will choose two or three activities from the following:
Activity 1 Your Multi-Dimensional Dual Self
Activity 2 Luminate the Illuminated
Activity 3 My Week
Activity 4 Calendar Days
840 minutes
900 minutes
600 minutes
300 minutes
Unit Planning Notes
The teacher will:
• review drawing techniques and re-examine various approaches to drawing;
• review painting techniques by reinforcing colour theory concepts and appropriate care of tools;
• assemble necessary materials (e.g., painting and drawing supplies, modelling clay, plaster and plaster
bandages, clear acetate sheets, acrylic mediums, cardboard or foam board);
• access supplies which lend themselves to two-dimensional and three-dimensional found object art;
• assemble contemporary and historical art images (e.g., slides, reproductions, books) related to art of
the Middle Ages, Canadian Impressionism, and Painters Eleven;
• emphasize that the drawing journal is a vital component for each activity in developing ideas.
Prior Knowledge Required
•
•
•
•
a substantial understanding of the elements and principles of design;
able to apply design techniques to two and three-dimensional works of art;
recognize that artistic process is necessary in order to extend creative ideas;
acknowledge the potential in using a variety of processes and mediums in creating a work of art.
Unit 4 - Page 1
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Teaching/Learning Strategies
The teacher will:
• review elements and principles of design where applicable for individual activities;
• illustrate formal drawing skills, colour theory techniques using acrylic paint, additive and reductive
sculptural techniques, plaster bandage casting, relief printing;
• show historical references using slides, reproductions and books;
• clearly define expectations of given activity;
• direct conferencing and self-reflection, provide technical assistance.
The student will:
• research independently, report on, and analyse key concepts;
• use drawing journal as a resource in extending personal expression;
• create independently in a co-operative setting;
• synthesize learning skills in the creation of artworks.
Assessment and Evaluation
•
•
•
•
•
formative assessment
reflection - peer and self-evaluation, drawing journals, reporting
observation - formal and informal teacher observation
public exhibition - displaying, public/peer/teacher critique
summative assessment
Resources
Books
Alexander, Johnathan. Medieval Illuminators and Their Methods of Work. New Haven, Conn: Yale
University Press, 1992. ISBN 0300060734
Alexander, J.J.G. Book Illumination in the Middle Ages. Harvey Miller Publishers Inc.
ISBN 1872501761
Bain, George. Celtic Art: the Methods of Construction. New York: Dover Publications Inc.
ISBN 0486229238
Davis, Courtney. Celtic Illumination - The Irish School. London: Thames and Hudson Ltd., 1998.
ISBN 0500280398
De Hamel, Christopher. A History of Illuminated Manuscripts. Oxford: Phaidon Press Inc., 1997.
ISBN 0714834521
De Hamel, Christopher. Scribes and Illuminators - Medieval Craftsmen Series. Toronto: University of
Toronto Press, 1992. ISBN 0802077072
Duval, Paul. Canadian Impressionism. Toronto: McClelland and Stewart Inc., 1990. ISBN 0771029640
Harding, Mike. A Little Book of Stained Glass. London: Aurum Press Ltd., 1998. ISBN 1854105647
Higuera, Teresa Perez. Medieval Calendars. London: Weidenfeld and Nicolson Ltd., 1998.
ISBN 0297823701
Howarth, Sarah. What Do We Know About the Middle Ages? London: MacDonald Young Books Ltd.,
1995. ISBN 0750017295
Lusebrink, Amy. 159 Celtic Designs. Dover Pictorial Archive. ISBN 0486276880
Meehan, Aidan. Celtic Design: A Beginner's Manual. London: Thames and Hudson Inc., 1991.
ISBN 0500276293
Unit 4 - Page 2
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Meehan, Aidan. Celtic Design: Animal Patterns. London: Thames and Hudson Inc., 1992.
ISBN 0500276625
Meehan, Aidan. Celtic Design: Illuminated Letters. London: Thames and Hudson Inc., 1992.
ISBN 0500276854
Meehan, Aidan. Celtic Design: Spiral Patterns. London: Thames and Hudson Inc., 1993.
ISBN 0500277052
Meehan, Bernard. Book of Kells. London: Thames and Hudson Ltd., 1997. ISBN 0500277907
Meehan, Bernard. The Book of Durrow. Colorado: Roberts Rinehart Publishers, 1996. ISBN 1570980535
Mittler, Gene A. Art in Focus Third Edition. California: Macmillan/McGraw-Hill, 1994.
Pearce, Mallory. Ready-to-Use Celtic Designs: 96 Different Copyright-free Designs. Dover Publishers:
Clip Art Series, 1998. ISBN 0486289869
Pearce, Mallory. Easy to Duplicate Celtic Borders: 55 Copyright-free Forms. Dover Publishers: Clip Art
Series, 1993. ISBN 0486277976
Reid, Denis. A Concise History of Canadian Painting. Toronto: Oxford University Press, 1989.
ISBN 019540663X
Sloan, Annie. The Practical Guide to Decorative Antique Effects. Conran Octopus, 1999.
ISBN 1855852578
Sloss, Andy. How to Draw Celtic Knotwork: A Practical Handbook. Blandford Printers, 1997.
ISBN 0713724927
Snyder, James. Medieval Art, Painting, Sculpture, Architecture 4th - 14th Century. New York: Harry N.
Abrams Inc., 1989. ISBN 0810915324
Stoddard, Whitney S. Art and Architecture in Medieval: Medieval Architecture, Sculpture, Stained
Glass, Manuscripts. Icon Harpe. ISBN 0064300226
Sturrock, Sheila. Celtic Knotwork Designs. Sterling Publications, 1997. ISBN 1861080409
Wieck, R. Time Sanctified: the Book of Hours in Medieval Art and Life. New York: George Braziller
Inc., 1988. ISBN 0807611891
Wieck, R. Painted Prayers, the Book of Hours in Medieval and Renaissance Art. New York: George
Braziller Inc., 1997. ISBN 0807614181
Other
Art supply resource sites:
Toronto – Garbage Palace, 970 Queen St. W., Toronto. Contact: Patty Smythe, (416) 703-2964
Guelph – ReKreations Emporium, (519) 826-4637, [email protected]
Art Jam
www.artjam.org
Sault-Ste-Marie - Imagination Station. Contact: Dianna Maki, (705) 945-1573
http;//members.tripod.com/cleannorth
Ontario Waste Materials Exchange. Contact: Stacey Jones, 1-888-845-9038, (416) 778-4199
[email protected]
Unit 4 - Page 3
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Activity 1: Your Multi-Dimensional Dual Self
Time: 840 minutes
Description
This activity is divided into a three-part process that will produce three finished works of art. The first is
a self-portrait drawing, the second is a portrait that combines drawing and painting, and the third
reinterprets these ideas into a three-dimensional form. The students will explore both the technical and
expressive approaches to drawing and painting through meaningful art history connections and studies.
This activity will also allow students to explore three-dimensional concepts through extension of their
original two-dimensional ideas. Their finished works will demonstrate the importance of process and
extension in producing artwork.
Strands and Expectations
Ontario Catholic School Graduate Expectations
CGE3a - recognizes there is more grace in our world than sin and that hope is essential in facing all
challenges;
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and
experience;
CGE4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of
others;
CGE5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in
the work of others;
CGE7i - respects the environment and uses resources wisely.
Strand(s): Theory, Creation, Analysis
Overall Expectations
CRV.01 - produces a work designed around specific objectives and challenges (e.g., composition issues,
subject matter, use of visual language);
CRV.02 - demonstrates the ability to take varied and creative approaches to using materials, tools,
processes, and technologies in studio activities;
CRV.03 - explains the importance of process in relation to the final product;
ANV.01 - applies critical analysis processes to their artwork and works studied;
ANV.02 - identifies sensory, formal, expressive, and technical qualities in their own works and works
studied.
Specific Expectations
TH3.01 - explains how they have incorporated into their studio assignments characteristic materials and
expressive qualities of artworks studied;
CR1.01 - uses various strategies in creating images (e.g., symbolism, interpretation of same idea in both
two and three dimensions);
CR1.02 - uses tools, materials, processes, and technologies safely and appropriately;
CR2.01 - demonstrates the ability to solve artistic problems and make creative choices when completing
artworks that reflect their concerns;
CR2.02 - demonstrates the ability to use an increasing range of tools, materials, processes, and
technologies in producing works of fine art and applied design;
CR3.03 - demonstrates the ability to review and evaluate the creative processes they use, as well as the
resulting artworks;
AN1.02 - analyses the formal composition of an example of artwork from personal and/or historical
works studied;
AN2.01 - explains how the formal organization of visual content (formalism) as well as the imitation of
life (imitationalism) can be used to create and think about works of art.
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Planning Notes
The teacher will:
• arrange for a class set of mirrors (students should come prepared with a small mirror);
• compile images and slides from Carolingian, Ottonian, Romanesque, and Gothic art (examples
should illustrate facial expression, body language and expressive use of colour);
• locate or order large photocopy paper (11" x 17"/27.5 x 42.5 cm) photocopy paper or, crop art room
cartridge paper to size;
• gather drawing and painting supplies as well as quality glue sticks for cutting and pasting, matte
cutter and board or bristol board and pieces of cardboard, cutting knives.
Prior Knowledge Required
• an understanding of the elements and principles of design
• experience using various approaches to drawing and painting (Grade 9 expectations)
• experience with three-dimensional art making
Teaching/Learning Strategies
1. The teacher will:
• show Romanesque and Gothic slides and images to demonstrate how expression, body language
and colour are used to communicate emotion (e.g., Carolingian illustrations from the Coronation
Gospel, the Gospel Book of Bishop Ebbo, The Utrecht Psalter, Ottonian Crucifix works,
Romanesque and Gothic column reliefs [e.g., Malmesbury Abbey Church and Strasbourg
Cathedral], Gothic works including Pietà wood sculpture of Rheinisches Landesmuseum,
paintings by Giotto and Ducio);
• outline the difference between observational and expressive approaches to art making (objective
versus subjective);
• demonstrate observational portrait drawing by using proportion and value to create an illusion of
three dimensions.
2. The student will:
• use drawing journal to record notes and to practise drawing portraits of classmates using accurate
proportions and value;
• complete part one of activity by drawing, in pencil, a fully rendered mirror image self-portrait
applying observational skills, value, and proportion.
3. The teacher will:
• supply three to four photocopies on large paper 11" x 17" (27.5 x 42.5 cm) of finished selfportrait drawing;
• return photocopies and original drawing to student; these are needed for part two of activity;
• introduce the concept of colour and its effect on emotion;
• show slides to emphasize the expressive quality of colour;
• choose one colour to demonstrate a monochromatic style of painting.
4.
The student will:
• experiment with monochromatic painting;
• select an emotion which describes their inner spirit (e.g., content, restless, excited, etc.);
• practise drawing a facial expression which describes their chosen emotion and selects a
corresponding colour;
• use a mirror to paint a second self-portrait using the facial expression and monochromatic colour
symbolic of a selected emotion.
5. The teacher will:
• discuss the notion of a visible external self and an invisible inner self;
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•
instruct the student to create a “dual portrait” by fusing their portraits into one work of art (e.g.,
photocopied pencil portrait with monochromatic portrait);
• encourage creative problem solving (e.g., multiple images, cutting and pasting, etc.).
6. The student will:
• combine photocopied pencil portrait and monochrome into one work of art;
• complete part two of activity by matting or mounting finished work.
7. The teacher will:
• introduce the idea of reinterpreting a theme from two dimensions into three dimensions;
• show slides of Early Christian Illuminations (two-dimensional) and compare with Romanesque
and High Gothic relief sculptures (three-dimensional);
• provide photocopies of all components of work to this point (parts 1 and 2 of this activity);
• instruct students to reinvent their original work using cardboard to create an elevation relief
sculpture (photocopies, painting, and drawing should be used within relief to keep consistent
with the self-portrait theme).
8. The student will:
• use materials provided to rethink and revise original ideas into a relief elevation;
• incorporate photocopies, drawing and colour into their reinterpretation;
• complete part 3 of the activity by creating a three-dimensional relief of their self-portrait.
Assessment/Evaluation Techniques
• TH3.01, CR1.02 – pencil portrait drawing (part 1); teacher rubric, class display - peers match portrait
likeness to student artist
• CR2.01, CR2.02, AN2.01 – teacher rubric: Appendix IV, 1a – Portrait Drawing Combined with
Monochrome (part 2).
• CR1.01, CR2.02 – relief elevation (part 3); student exhibit and critique – comparison with pencil
portrait and monochrome
• CR3.03, AN1.02 – student comment sheet – self-evaluation – comment on cumulative process of
parts 1, 2 and 3, teacher rubric
Accommodations
• Modify expectations of “exact likeness” with portrait drawing (modify evaluation to include only
facial proportion and use of value).
• Trace portrait onto the surface of mirror with ink or paint to make a monoprint on paper (easier
access to likeness in drawing a self-portrait).
Resources
Books
Alexander, Johnathan. Medieval Illuminators and Their Methods of Work. New Haven: Yale University
Press, 1992. ISBN 0300060734
De Hamel, Christopher. A History of Illuminated Manuscripts. Oxford: Phaidon Press Inc., 1997.
ISBN 0714834521
De Hamel, Christopher. Scribes and Illuminators - Medieval Craftsmen Series. Toronto: University of
Toronto Press, 1992. ISBN 0802077072
Appendix
Appendix IV, 1a – Portrait Drawing Combined with Monochrome.
Unit 4 - Page 6
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Activity 2: Luminate the Illuminated
Time: 900 minutes
Description
This activity will use Illuminated manuscripts as a point of departure where the students will research,
select, and reinvent an image from an illustrated manuscript. The creative process will be encouraged
whereby the student artist will explore drawing, additive, and reductive sculptural techniques, plaster
casting, and acrylic painting. The finished work will be both two- and three-dimensional, in colour, and
will relate to pages of illuminated manuscripts.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE3a - recognizes there is more grace in our world than sin and that hope is essential in facing all
challenges;
CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and
experience;
CGE4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of
others;
CGE5g - achieves excellence, originality, and integrity in one's own work and supports these qualities in
the work of others;
CGE6a - relates to family members in a loving, compassionate, and respectful manner;
CGE6c - values and honours the important role of the family in society;
CGE7i - respects the environment and uses resources wisely.
Strand(s): Theory, Creation, Analysis
Overall Expectations
CRV.01 - produces a work designed around specific objectives and challenges (e.g., composition issues,
subject matter, use of visual language);
CRV.02 - demonstrates the ability to take varied and creative approaches to using materials, tools,
processes, and technologies in studio activities;
CRV.03 - explains the importance of process in relation to the final product;
ANV.01 - applies critical analysis processes to their artwork and works studied.
Specific Expectations
TH2.02 - demonstrates an understanding of a mid-segment of the Western art history timeline (e.g., the
Middle Ages);
TH3.01 - explains how they have incorporated into their studio assignments characteristic materials and
expressive qualities of artworks studied;
CR1.01 - uses various strategies in creating images (e.g., symbolism, interpretation of same idea in both
two and three dimensions);
CR1.02 - uses tools, materials, processes, and technologies safely and appropriately;
CR2.02 - demonstrates the ability to use an increasing range of tools, materials, processes, and
technologies in producing works of fine art and applied design;
CR3.02 - develops sketchbooks, a portfolio, and/or planners that document their personal art process;
CR3.03 - demonstrates the ability to review and evaluate the creative processes they use, as well as the
resulting artworks;
AN1.04 - identifies possible meanings of a work by referring to background information and specific
visual indicators;
AN2.02 - demonstrates an understanding of the use of symbols in creative expression;
Unit 4 - Page 7
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AN2.03 - describes how a culture shapes its art with reference to historical and contemporary examples
(e.g., Byzantine icons, Chinese landscape, painting in fifteenth-century Europe, pre-Columbian pottery,
Warhol’s soup cans).
Planning Notes
The teacher will:
• compile slides/images from Illuminated Manuscripts: Byzantine Illuminations (e.g., Paris Psalter,
Homilies of Gregory, Stauronikita Gospels, Gospel of St. Augustine), Hiberno-Saxon Illuminations
(e.g., Book of Durrow, Lindisfarne Gospels, Codex Aureus, Book of Kells), Carolingian
Illuminations (e.g., The Ada Group, the Palace School, the Reims School, the Tours School),
Ottonian Illuminations;
• collect/improvise tools which will sculpt in modelling clay (e.g., butter knife, paper clip scoop,
kitchen utensils, etc.);
• cut card/bristol board pieces for students to have a portable work surface (approximately 2’/60 cm
square);
• collect containers (e.g., mustard) to portion acrylic paint (e.g., efficient/economical access to paint);
• seek out supply of large sheets of cardboard/foam board;
• collect plastic buckets (e.g., ice cream) for use with plaster strips, poly-fill, and sandpaper;
• ensure that sink trap is in drain at all times.
Prior Knowledge Required
• colour theory concepts as they apply to terminology, paint mixing, and painting techniques
• appropriate use of and care for tools when using acrylic paint
• some knowledge of clay-modelling techniques, papier mâché technique and/or plaster casting
• basic use of cropping to create an effective composition
Teaching/Learning Strategies
1. The teacher will:
• introduce the Early Middle Ages by showing slides or images chronologically from Illuminated
Manuscripts (Byzantine to pre-Romanesque);
• describe the effect of Church and State on Medieval culture and discuss its impact on subject
matter in Illuminations (e.g., symbolism, iconography, themes, and processes);
• discuss how body language and gestures have meaning.
2. The student will:
• research and select an image from an Illuminated Manuscript which shows an evangelist or
evangelist symbol;
• choose an individual who has had a significant influence in their lives (e.g., a family member, a
mentor, a friend, etc.) and acquire working photographs of the person selected;
• use drawing journal to design a composition which integrates their significant person with an
evangelist page accompanied by a reflection piece;
• prepare workplace by setting up modelling clay and tools on a piece of cardboard or Bristol
board (e.g., movable work surface).
3. The teacher will:
• demonstrate techniques of additive and reductive sculpture using modelling clay, sculpting tools
(e.g., butter knife), facial expression, and proportion in three dimensions.
4. The student will:
• begin a relief sculpture in modelling clay by flattening and shaping clay around a wad of
newspaper into the shape of a dome;
Unit 4 - Page 8
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•
5.
6.
7.
8.
9.
work from a photograph of their influential person and attempt to create a likeness in modelling
clay adapting the gesture to match the expression and gesture in their selected Illuminated image;
• complete modelling process by ensuring that their sculpture is a full 180 degrees display of the
face (e.g., there should be no gaps around the circumference).
The teacher will:
• demonstrate the technique of using plaster bandage strips to cast the face (strips of old bed sheets
dipped in a quick set powder plaster mix is a cost-effective alternative to ready-made bandage
strips);
• apply plaster strips in criss-crossed layers and continue plastering beyond edges to create a 2" (5
cm) border around entire circumference of face;
• discuss proper disposal of plaster residue (e.g., wait until plaster dries and dispose in garbage).
The student will:
• cast modelled face with plaster strips and, when dry, pull modelling clay out from the mould;
• use manuscript page to design and interpret a composition onto a large piece of cardboard/foam
core;
• prepare surface by measuring the circumference of face cast and cutting hole of that size in
cardboard corresponding to chosen composition;
• insert plaster face through opening in the cardboard so that the plaster border prevents it from
falling through to the other side;
• use plaster to seal any gaps that may occur around the face and reinforce the back border with
more plaster strips;
• smooth and sand facial surface with poly-fill, prime entire surface with latex paint (optional).
The teacher will:
• review and demonstrates acrylic techniques, colour mixing and appropriate care of tools;
• suggest possibility of creating more plaster relief in other areas of the composition (e.g., add
three-dimensional element to a halo, a part of drapery, beard, hair, etc.).
The student will:
• sketch composition of Illuminated illustration over cardboard surface (plaster face is now
integrated into the cardboard);
• add further relief in plaster to selected sections of overall image (e.g., drapery, etc.);
• use acrylic paint in the same colour scheme and painting style as the original manuscript page.
The teacher will:
• conclude project by discussing how culture shapes art;
• show examples of symbolism and iconography in Canadian and Medieval art drawing parallels
between the art of New France and Early Christian Manuscripts (e.g., religious iconography).
Assessment/Evaluation Techniques
• CR1.02, CR3.02, TH2.02 – sculptural technique in modelling clay and casting; Appendix IV, 2a –
Teacher Rubric, self-assessment
• CR1.01, TH3.01, CR2.02 – integration of plaster face into Illumination; Appendix IV, 2b, teacher
rubric, peer rubric
• AN1.04, AN2.02, AN2.03 – student report – how culture shapes art (Church, State and Patronage –
meaning, symbol, and iconography)
• CR3.03 – student critique and exhibit – public comment sheet
Unit 4 - Page 9
• Visual Arts- Open
Accommodations
• Work in partners to complete a multimedia presentation using print, video, audio.
• Students work in pairs for technical aspects, clean up.
• Plaster cast their own or significant person’s face in place of modelling and casting features in clay
(e.g., replace the evangelist’s face with an actual cast of an important person in their lives). Where
this option is selected the teacher must address safety considerations.
Resources
Books
Alexander, J.J.G. Book Illumination in the Middle Ages. Harvey Miller Publishers Inc.
ISBN 1872501761
Davis, Courtney. Celtic Illumination - The Irish School. London: Thames and Hudson Ltd., 1998.
ISBN 0500280398
De Hamel, Christopher. A History of Illuminated Manuscripts. Oxford: Phaidon Press Inc., 1997.
ISBN 0714834521
Meehan, Bernard. Book of Kells. London: Thames and Hudson Ltd., 1997. ISBN 0500277907
Meehan, Bernard. The Book of Durrow. Colorado: Roberts Rinehart Publishers, 1996. ISBN 1570980535
Appendices
Appendix IV, 2 a: Sculptural Techniques
Appendix IV, 2 b: Integration of Plaster Face into Illumination
Activity 3: My Week
Time: 600 minutes
Description
This activity encourages students to view their day to day lives from an introspective and expressive
point of view. Students will reflect upon their Catholic Faith traditions and create a miniature book, using
words and images, to chronicle personal events occurring over a one week span. External influences,
events, personal insights, and reactions will act as the catalyst for their expression. Historical references
will be made to Hiberno-Saxon book covers, Early Christian manuscript pages, and Painters Eleven
expressionism.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and
experience;
CGE4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of
others;
CGE5g - achieves excellence, originality, and integrity in one's own work and supports these qualities in
the work of others;
CGE6a - relates to family members in a loving, compassionate, and respectful manner;
CGE6c - values and honours the important role of the family in society;
Strand(s): Theory, Creation, Analysis
Unit 4 - Page 10
• Visual Arts- Open
Overall Expectations
THV.03 - explains the social and historical context and the chronology of distinctive artistic styles;
CRV.01 - produces a work designed around specific objectives and challenges (e.g., composition issues,
subject matter, use of visual language);
CRV.02 - demonstrates the ability to take varied and creative approaches to using materials, tools,
processes, and technologies in studio activities;
ANV.02 - identifies sensory, formal, expressive, and technical qualities in their own works and works
studied;
ANV.03 - describes interrelationships among art, the consumer, and the community.
Specific Expectations
TH2.01 - describes the characteristics of a historical movement in Canadian art (e.g., the art of New
France, Canadian Impressionism, Painters Eleven);
TH2.02 - demonstrates an understanding of a mid-segment of the Western art history timeline (e.g., the
Middle Ages);
TH3.01 - explains how they have incorporated into their studio assignments characteristic materials and
expressive qualities of artworks studied;
CR2.01 - demonstrates the ability to solve artistic problems and make creative choices when completing
artworks that reflect their concerns;
CR2.02 - demonstrates the ability to use an increasing range of tools, materials, processes, and
technologies in producing works of fine art and applied design;
CR2.03 - executes sketches and drawings in an increasing variety of media;
CR3.03 - demonstrates the ability to review and evaluate the creative processes they use, as well as the
resulting artworks;
AN1.03 - explains the significant expressive qualities of a work of art with reference to a list of possible
categories (e.g., sensory, formal, expressive, technical);
AN2.02 - demonstrates an understanding of the use of symbols in creative expression;
Planning Notes
The teacher will:
• compile slides and images illustrating Hiberno-Saxon inlay book cover designs, carpet pages (e.g.,
Book of Durrow, Book of Kells), Initial Letter Designs, Canon Tables in Illuminated manuscripts,
narrative scenes in the art of New France and Abstract Expressionism of the Painters Eleven;
• provide a set of 5" x 7" (12.5 x17.5 cm) Masonite plaques or thick card cover stock (e.g., millboard)
for front and back cover of book;
• ensure proper use of electric drill if used to bind Masonite board covers;
• acquire copper sheets (sulfate for antiquing) or alternative aluminum foil and ink or simulated leather
cover;
• direct students to bring objects for cover inlays (e.g., semi-precious stones, beads, plastics, coloured
glass).
• cut paper into 5" by 7" (12.5 x17.5 cm) sheets (e.g., Mayfair, water colour paper, handmade, etc.);
• provide variety of drawing and painting supplies;
• inquire at local libraries regarding book collections (e.g., rare books) and arrange a viewing.
Prior Knowledge Required
• knowledge of the elements and principles of design
• exposure to a range of drawing and painting styles and materials
• understanding that found objects are a useful medium in creating a work of art
• utilization of real life events as a source for creative ideas
Unit 4 - Page 11
• Visual Arts- Open
Teaching/Learning Strategies
1. The teacher will:
• introduce activity by showing slides/images of Hiberno-Saxon book cover designs, carpet page
design, monogram pages, canon tables and initial letters (e.g., Book of Durrow, Book of Kells,
Lindisfarne Gospels) and explain the decorative and narrative function of these forms;
• outline activity (e.g., students create their own book modelled after the Hiberno-Saxon format
which will chronicle one week of their lives);
• distribute examples of carpet page motifs (e.g., Celtic knot, interlace, trumpet, and serpentine
designs).
2. The student will:
• research and gather imagery of Celtic designs;
• begin page one of their book with a carpet page design;
• create a carpet page showing a decorative and symmetrical pattern in colour (e.g., pencil crayons,
watercolours, etc.).
3. The teacher will:
• instruct students to use drawing journal as a resource book for recording ideas creating a visual
narrative (students should use words and images to recount their day to day lives with the
Catholic faith tradition);
• show slides of the Painters Eleven to illustrate the expressive use of form and colour, Canadian
Impressionism to illustrate imitationalism (imitation of life), and the Utrecht Psalter to illustrate
narration in art.
4. The student will:
• begin pages of their seven day week (e.g., multimedia, decorative text, personal narrative,
symbols, iconography, etc.) using their sketchbook ideas as a resource;
• book should consist of a minimum of eight pages including carpet page.
5. The teacher will:
• outline possible decorative methods for book cover (e.g., found object inlays, tooling marks,
antiquing effects, etc.).
6. The student will:
• complete book cover with decorative inlays using personal artifacts to adorn their work (e.g.,
beads, tiles, glass, plexiglass, etc.);
• bind front and back covers of book to illustrated pages (e.g., string, wire, threading, etc.).
Assessment/Evaluation Techniques
• TH3.01 AN2.02 – introductory page showing Hiberno-Saxon motifs and style; student checklist
• CR2.01, CR2.03, CR3.03 – Appendix IV, 3a – My Week; Drawing Journal – chronicle of daily
events
• TH3.01, CR2.01, CR2.02, AN1.03 – book pages and cover; teacher rubric, peer assessment, student
exhibition
• TH2.01, TH2.02, TH3.01, AN1.03 – written report on finished work – decorative, expressive,
narrative, imitative; teacher rubric
Accommodations
• To simulate aged look on book cover use antiquing methods (e.g., ink stain glaze, distress varnish,
crackle glaze).
• If used, Masonite board for book cover should be pre-cut into established size.
Unit 4 - Page 12
• Visual Arts- Open
•
•
Adapt activity so that each day of the week is represented by an element or principle of design (e.g.,
Monday, using line; Tuesday, using texture; etc.).
Create an audio piece to accompany the book.
Resources
Books
Bain, George. Celtic Art: the Methods of Construction. New York: Dover Publications Inc.
ISBN 0486229238
Duval, Paul. Canadian Impressionism. Toronto: McClelland and Stewart Inc., 1990. ISBN 0771029640
Pearce, Mallory. Ready-to-Use Celtic Designs: 96 Different Copyright-free Designs. Dover Publishers:
Clip Art Series, 1998. ISBN 0486289869
Reid, Denis. A Concise History of Canadian Painting. Toronto: Oxford University Press, 1973.
ISBN 019540663X
Sturrock, Sheila. Celtic Knotwork Designs. Sterling Publications, 1997. ISBN 1861080409
Other
Art supply resource sites:
Toronto – Garbage Palace, 970 Queen St. W., Toronto. Contact: Patty Smythe, (416) 703-2964
Guelph – ReKreations Emporium, (519) 826-4637, [email protected]
Art Jam
www.artjam.org
Sault-Ste-Marie – Imagination Station. Contact: Dianna Maki, (705) 945-1573,
http;//members.tripod.com/cleannorth
Ontario Waste Materials Exchange. Contact: Stacey Jones, 1-888-845-9038, (416) 778-4199,
[email protected]
Appendices
Appendix IV, 3a – My Week; Drawing Journal
Activity 4: Calendar Days
Time: 300 minutes
Description
This activity will use the calendar pages of Les Tres Riches Heures de Duc de Berry to inspire students
in the creation of their own calendar design. The students will develop one illustration for a calendar
page which will be a personal overview of the year to date and will act as a commentary on some aspect
of modern society. The students will use their drawing journals to develop ideas and chronicle images
reflective of contemporary culture, family, and individual pursuits.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and
experience;
CGE6c - values and honours the important role of the family in society;
CGE7i - respects the environment and uses resources wisely.
Unit 4 - Page 13
• Visual Arts- Open
Strand(s): Theory, Creation, Analysis
Overall Expectations
CRV.01 - produces a work designed around specific objectives and challenges (e.g., composition issues,
subject matter, use of visual language);
CRV.02 - demonstrates the ability to take varied and creative approaches to using materials, tools,
processes, and technologies in studio activities;
ANV.01 - applies critical analysis processes to their artwork and works studied;
ANV.03 - describes interrelationships among art, the consumer, and the community.
Specific Expectations
TH3.01 - explains how they have incorporated into their studio assignments characteristic materials and
expressive qualities of artworks studied;
TH3.02 - explains how their personal artworks have been influenced by works they have viewed in
galleries and museums;
CR2.01 - demonstrates the ability to solve artistic problems and make creative choices when completing
artworks that reflect their concerns;
CR2.02 - demonstrates the ability to use an increasing range of tools, materials, processes, and
technologies in producing works of fine art and applied design;
CR2.03 - executes sketches and drawings in an increasing variety of media;
AN2.01 - explains how the formal organization of visual content (formalism) as well as the imitation of
life (imitationalism) can be used to create and think about works of art;
AN2.03 - describes how a culture shapes its art with reference to historical and contemporary examples
(e.g., Byzantine icons, Chinese landscape, painting in fifteenth-century Europe, pre-Columbian pottery,
Warhol’s soup cans).
Planning Notes
The teacher will:
• compile slides/images of Limbourgh Brothers - Book of Hours Calendar pages;
• acquire visual resources (e.g., magazines, old maps, newspapers, fabric samples, food flyers,
photographs);
• arrange class trip to local gallery - request a tour which focusses on a theme of how culture shapes
art;
• acquire old calendars showing moon phases, cross-cultural holidays, stylistic variations;
• acquire cardboard or matte backing to mount artwork and calendar pages;
• use computer software to create a numerical chart for days of the month (e.g., WordPerfect – file
menu – choose new, under custom templates find calendar or Clarisworks – file menu – choose new,
under assistant find calendar).
Prior Knowledge Required
• familiarity using sketchbook as a visual journal to collect and record accumulated experience and
reflection;
• understanding that visual awareness is a vital component in creating a work of art;
• ability to apply the elements and principles of design as expressive components in their creations.
Teaching/Learning Strategies
1. The teacher will:
• introduce activity by showing images/slides from Les Tres Riches Heures de Duc de Berry;
• encourage students to compare and contrast the lifestyles then and now while recording ideas in
drawing journal;
• hand out worksheet (see Appendix IV, 4a – Explanation of Calendar).
Unit 4 - Page 14
• Visual Arts- Open
2. The student will:
• use drawing journal to complete Appendix IV, 4a – Explanation of Calendar;
• experiment with a range of materials, styles, and creative ideas (e.g., cutting and pasting,
magazines and photographs, textural surfaces, multiple images, etc.);
• develop ideas in order to create one calendar page illustration.
3. The teacher will:
• distribute heavy stock paper (e.g., water colour paper) for illustration;
• distribute a numerical calendar chart for each student.
4. The student will:
• mount completed calendar illustration on cardboard or matte backing;
• staple or stitch calendar pages together and mount with artwork.
Assessment/Evaluation Techniques
• TH3.01, TH3.02, CR2.03 – Appendix IV, 4a – Explanation of Calendar; drawing journal brainstorm
– anecdotal comments, student checklist
• AN2.01, AN2.03 – calendar illustration – student report describing the story being told (e.g., written
from a vantage point 500 years in the future)
• CR2.01, CR2.02 – calendar display – teacher/peer/student rubric (e.g., technical merit, marketability,
aesthetic qualities)
Accommodations
• Size, design, and layout of calendar can vary (e.g., vertical, horizontal, triadic, hanging, etc.).
• Colour copy and reduce each artwork to create one calendar representing the artwork of each student
(e.g., use as a class calendar, school fund-raiser, advocate school art).
• Record audio cassette for student report (i.e., audio report played in conjunction with calendar
display).
• Create an abstract illustration that describes contemporary culture (e.g., the textures through
multimedia, symbols, iconography, and semiotics, using basic shapes).
• Students make entire calendar, including numerical chart and all illustrations.
Resources
Books
Higuera, Teresa Perez. Medieval Calendars. London: Weidenfeld and Nicolson Ltd., 1998.
ISBN 0297823701
Wieck, R. Time Sanctified: the Book of Hours in Medieval Art and Life. New York: George Braziller
Inc., 1988. ISBN 0807611891
Wieck, R. Painted Prayers, the Book of Hours in Medieval and Renaissance Art. New York: George
Braziller Inc., 1997. ISBN 0807614181
Appendices
Appendix IV, 4a – Explanation of Calendar
Unit 4 - Page 15
• Visual Arts- Open
Appendix IV, 1 a
Rubric – Portrait Drawing Combined with Monochrome
Criteria
Creation
(Application)
• application of
knowledge
and skills
Level 4
- portraits
demonstrate a high
degree of skill at
using materials
and techniques in
creating a 3-D
representation
- portraits highly
- facial expression
• expression
synthesize
and monochrome
expression with
have little
colour seen
connection to an
through
emotional state
drawing/painting
skills and an
expressive use of
materials
- attention to
- final work shows - final work shows - final work is
• presentation
detail in final
attention to detail complete attention professional in
work is limited
with few
to finishing detail appearance
digressions
showing extension
with finishing
detail
- drawing and
- drawing and
- fusion between
- finished work
Thinking/
painting are highly
painting are
combines drawing drawing and
Inquiry
synthesized
combined
painting works
with painting
• synthesis of
applying a high
effectively
on
a
towards
using
limited
ideas
degree of
formal and
originality
originality
originality
expressive level
formally and
expressively
Note: A student whose achievement is below level 1 (50%) has not met the expectations for this
assignment or activity.
Unit 4 - Page 16
Level 1
- portraits apply
limited skill at
applying facial
proportion, value,
and 3-D illusion
Level 2
- portraits apply
drawing and
painting skills
with some
effectiveness in
creating an
illusion of 3-D
- expression and
monochrome are
somewhat
associated but are
technically
unconvincing
Level 3
- portraits are
technically sound
and demonstrate
considerable
application skills
with drawing and
painting
- portraits show
synthesis between
facial expression
and monochrome
and communicate
very effectively
• Visual Arts- Open
Appendix IV, 2a
Rubric – Sculptural Techniques
Criteria
Creation
(Application)
• technique in
modelling clay
Level 1
- clay work is flat
- facial features
and forms show
limited three
dimensionality
•
casting
construction
- plaster casting is
structurally weak
and does not have
an even border
around
circumference
Level 2
- clay work is
showing evidence
of three
dimensions in
facial features and
forms
- structure of
plaster casting is
adequate but has
areas that are
weak in
construction
Communication
- preliminary
sketches of
significant person
have little
relationship to
chosen manuscript
page
- preliminary
sketches show
some relationship
between
significant person
and chosen
manuscript page
Level 3
- facial features
and forms clearly
show three
dimensions
Level 4
- facial features
and forms clearly
show three
dimensions
including nuances
to the form
- plaster casting is - plaster casting is
structurally sound, structurally sound
and shows
border is even,
extension by
and all parts are
using plaster to
well constructed
further develop 3D (e.g., beards,
neck, drapery,
etc.)
- preliminary
- preliminary
sketches display a
sketches display
high degree of
considerable
integration
planning in
between
connecting
significant person significant person
and manuscript
to manuscript
page
page
- facial
- facial
proportions and
proportions and
likeness are
likeness are life
effective
like and show a
high degree of
accuracy
- modelling in
clay applies
adequate facial
proportion and
shows some
likeness to
original
Note: A student whose achievement is below level 1 (50%) has not met the expectations for this
assignment or activity.
Creation
(Application)
Unit 4 - Page 17
- modelling in
clay demonstrates
limited skill in
showing likeness
and facial
proportion
• Visual Arts- Open
Appendix IV, 2b
Rubric – Integration of Plaster Face into Illumination
Criteria
Creation
(Application)
• design
•
technical
strength
•
presentation
Level 1
- chosen
composition
shows limited
planning and
originality in
integrating plaster
face
- finished work
shows major
construction flaws
(gaps in
cardboard, cracks
on seam lines,
etc.)
- attention to
detail in final
work is limited
Level 2
- composition
shows some
consideration in
applying concepts
of design
Level 3
- composition
shows
considerable skill
at applying and
adapting concepts
of design
Level 4
- composition
shows a high
degree of skill at
adapting and
interpreting
concepts of design
- finished work
shows minor
construction flaws
- finished work
shows no
construction flaws
- final work shows
attention to detail
with few
digressions
- final work shows
complete attention
to finishing detail
- finished work
shows no
construction flaws
and shows
extension in
reinforcing
overall structure
- final work is
professional in
appearance,
showing extension
with finishing
detail
- finished work
skillfully imitates
original style and
colour scheme,
infusing original
with personal
style
- finished work
- finished work
- finished work
adopts and applies imitates original
demonstrates
a similar painting painting style and
limited skill in
colour scheme
style and colour
appropriating
painting style and scheme of original with considerable
effectiveness
manuscript
colour scheme of
original
manuscript
Note: A student whose achievement is below level 1 (50%) has not met the expectations for this
assignment or activity.
Thinking/
Inquiry
Unit 4 - Page 18
• Visual Arts- Open
Appendix IV, 3a
Rubric – My Week; Drawing Journal
Criteria
Creation
(Application)
Level 1
- images are
portrayed in only
one visual
language (e.g.,
drawing in pencil)
Level 2
- images display
an attempt at
exploring various
visual languages
Communication
- images record
few details
specific to real
life events
- images show
some awareness
of characteristic
details of real life
events
Level 3
- images are
explored through
a diverse range of
visual language
(e.g., photos,
drawings, found
objects, etc.)
- details of real
life events are
recorded with
considerable
accuracy and
authenticity
- images explore
themes and styles
of historical
works studied
Level 4
- images are
explored through
a diverse range of
visual language
and are
synthesized into
common themes
- images display a
high degree of
awareness and
sensitivity to real
life events
- images make
- images
- images show
some references
insightfully
minimal
to historical works
integrate and
consideration of
studied
explore themes
historical works
and styles studied
studied (e.g.,
in class
illuminated
manuscripts,
Painters Eleven)
Note: A student whose achievement is below level 1 (50%) has not met the expectations for this
assignment or activity.
Thinking/
Inquiry
Unit 4 - Page 19
• Visual Arts- Open
Appendix IV, 4 a
Explanation of Calendar
The Subject of the Tres Riches Heures du Duc de Berry
The calendar pages of the Tres Riches Heures are one segment of an illustrated Book of Hours. This
manuscript, created between 1412 and 1416, also included prayers, psalms, and masses but is most
renowned for the magnificent illuminations in the calendar.
Each month had a subject specific to the time of year but also to the context of the society in which it was
created. The illustrations speak volumes about the structure and lifestyles of the aristocracy and peasant
classes. They are as follows:
January
The month of giving New Years’ gifts – Jean de Berry’s celebration
February
Winter in a peasant village
March
The year’s first farm work; sowing and ploughing
April
The arrival of spring, hope and new life
May
The May jaunt, a pageant celebrating the “joli mois de Mai” – nobleman and women
June
Harvest time - peasants at work
July
More of the harvest; the sheep are being shorn and the hay is being reaped
August
The month of hawking – nobles going hunting
September
Peasants harvesting grapes
October
Tilling and sowing by peasants
November
Autumn acorn harvest – peasants
December
Wild-boar hunt – royal chateau in background
In a variety of media, use your drawing journal to brainstorm:
List, in words and images, five ideas for each of the following headings:
yourself, your family, your friends, your community, and your spirituality
Select images from your lists and develop one illustration for a personal calendar page. Your
composition should tell something about our society. The images you chose should describe our way of
life, the things we do, the way we dress, what we eat, and any other information reflective of
contemporary culture.
Ask yourself:
In 500 years, what might someone learn about our society by looking at my illustration?
Unit 4 - Page 20
• Visual Arts- Open
Unit 5: Media Arts and Popular Culture
Time: 20 hours
Unit Description
Students will investigate the codes and conventions (e.g., camera angles, colour, text, sound, stereotypes,
etc.) used to manipulate target audiences of popular culture. The students will look at a variety of
commercial products such as music videos, fashion, toys, etc., and determine how each popular culture
product is constructed to convey a certain message or to elicit a particular response from its audience.
Discovery and studio activities will give students the opportunity to examine the specific impact of
various constructed media and to create their own media texts.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations: CGE1d, 2e, 3e, 7b, 7i.
Strand(s): Theory, Creation, Analysis
Overall Expectations: THV.01, CRV.01, CRV.03, CRV.04, ANV.01, ANV.02, ANV.03.
Specific Expectations: TH1.01, 02; TH2.03; CR1.01, 02; CR2.01, 02, 03, 04; CR3.01, 02, 03;
AN1.04; AN2.02, 03.
Activity Titles (Time + Sequence)
Teachers should complete Activity 1 and then choose two or three more activities from the list.
Activity 1 Introduction to Popular Culture
75 minutes
Activity 2 Toys and Games: Let’s Show and Tell
360 minutes
Activity 3 Music Videos: Packaging an Image
360 minutes
Activity 4 The Socially Conscious Comic Book Hero
360 minutes
Activity 5 Walk This Way: Shoe Design and the Shoe Industry
360 minutes
Activity 6 Snap, Crackle, Pop Culture: Food for Thought
360 minutes
Unit Planning Notes
This unit presents a variety of popular culture products. It is important that examples and visuals are
provided for students. Students themselves can be called upon to bring in these products as described in
each activity. Teachers should be prepared to allow students to provide information for much of the
content addressed in the discussions surrounding each activity as the students will most probably be more
knowledgeable than the teacher when it comes to what is currently popular and what is not.
Prior Knowledge Required
•
•
familiarity with the elements and principles of design and the steps in the design process. A number
of media-related terms should be reviewed as they pertain to chosen activities (e.g., storyboard, target
audience, etc.).
some knowledge of figure drawing
Teaching/Learning Strategies
Each activity presented will allow students to critically analyse a variety of media texts (a media text
being any form of communication intended for reproduction) through discussion and viewing. Students
will be encouraged to take notice of the many products of popular culture surrounding their daily lives.
Each activity also will allow students to create their own media texts, working both individually and in
groups to construct, present and reflect on what they have created.
Unit 5 - Page 1
• Visual Arts- Open
Assessment and Evaluation
In this unit, the media texts created by the students will be evaluated for the student’s creativity,
understanding of basic concepts related to popular culture and for the quality of the finished product. The
design process will be emphasized as students are also evaluated for their participation in group work,
completion of activity/response charts (appendices), ability to express and share their ideas orally, and
their use of the sketchbook as an accompaniment to the learning and design processes. Appendix V, 2c –
Rubric – Media Arts Unit and Appendix V, 2d – Self-Assessment – Media Arts Unit are provided as
evaluation tools.
Resources
Books
Duncan, Barry, et al. Mass Media and Popular Culture. Toronto: Harcourt Brace & Company, 1997.
ISBN 0774701706
Duncan, Barry, et al. Mass Media and Popular Culture Resource Binder, Version 2. Toronto: Harcourt
Brace & Company, 1997. ISBN 0774701714
Hazen, Don and Julie Winokur. We the Media: A Citizens’ Guide to Fighting for Media Democracy.
New York: The New Press, 1997. ISBN 1565843800
Media Literacy: Resource Guide for Intermediate and Senior Divisions. Ontario: Ministry of Education,
1989. ISBN 0772950903
Rushkoff, Douglas. Media Virus: Hidden Agendas in Popular Culture. New York: Ballantine Books,
1996. ISBN 0345397746
Straubhaar and LaRose. Media Now: Communications Media in the Information Age. Scarborough:
Nelson/Thomson Learning, 1999. ISBN 0534548288
Walker, Don. Teaching Ideas for Media Literacy. Toronto: Toronto Catholic District School Board,
1998. (80 Sheppard Ave. East, Toronto, Ontario, Tel.: 416-222-8282)
Videos
Andersen, Neil and John J. Punjente, SJ. Scanning Television: Videos for Media Literacy in Class.
Toronto: Harcourt Brace & Company, 1997. ISBN 0774701730
Web Sites
Adbusters
www.adbusters.org
Jesuit Communication Project
http://interact.uoregon.edu/MediaLit/JCP/index.html
Media Awareness Network
www.media-awareness.ca
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Activity 1: Introduction to Popular Culture
Time: 75 minutes
Description
In this activity, students will be introduced to the concept of popular culture by reflecting on their own
interactions with popular culture in their daily lives. The teacher will lead group discussions and help
students to connect our society’s values to its popular culture. Students will work in groups to predict
upcoming trends in various facets of popular culture such as fashion and music and share their
predictions with the class. Codes and conventions used by the media will also be introduced here and
further explored in the remaining activities of this unit.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE2e - uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media,
technology, and information systems to enhance the quality of life;
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and
experience.
Strand(s): Theory, Analysis
Overall Expectations
ANV.01 - applies critical analysis processes to their artwork and works studied;
ANV.03 - describes interrelationships among art, the consumer, and the community.
Specific Expectations
CR3.01 - uses appropriate visual arts vocabulary in describing materials and processes;
CR3.02 - develops sketchbooks, a portfolio, and/or planners that document their personal art process;
AN2.03 - describes how a culture shapes its art with reference to historical and contemporary examples
(e.g., Byzantine icons, Chinese landscape, painting in fifteenth-century Europe, pre-Columbian pottery,
Warhol’s soup cans).
Planning Notes
Before beginning this unit, the teacher may ask students to bring in any of the following items: a
magazine, a toy, a video game, a sports cap, a newspaper, a television guide, a running shoe, a music
video recording, a comic book, a movie poster, junk food. These can act as visuals during the opening
discussion on popular culture.
Prior Knowledge Required
No prior knowledge required.
Teaching/Learning Strategies
1. The teacher will introduce the concept of popular culture by:
• asking students for their definitions of popular culture;
• providing definitions of popular culture as per media resources suggested in this profile (e.g., “In
the simplest terms, popular culture is best thought of as mainstream culture – the arts, artifacts,
entertainments, fads, beliefs, and values shared by large segments of the society.” The Popular
Culture Reader, 1983)
• providing students with a list of elements of popular culture (see Appendix V, 1a – What Is
Popular Culture?);
• asking students to add to the above list with contemporary examples of popular culture;
• discussing what we might learn about a society by examining its popular culture.
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2. Students will demonstrate their understanding of popular culture by:
• thinking of all of their encounters with popular culture in the past 24 hours;
• writing down in point form as many of these encounters as they can remember;
• sharing their lists with a partner;
• sharing lists with the class.
3. The teacher will extend the discussion on popular culture by asking students to predict the following
fads (short-term) and trends (long-term) in groups:
• what will be the next most popular video game?
• what will be the next big fashion trend? (clothes, jewellery, hair, makeup)
• who will be the next big movie star?
• what will be the next big comic book title?
• who will be the next big sports star?
• what will be the next most popular car?
• what will be the next most popular television show?
4. Students will discuss the above questions in groups with each student recording their responses in
their sketchbooks. Each response should be accompanied by an explanation of why the group has
predicted this next fad or trend.
5. Each group will report their responses to the class and the teacher will summarize the responses on
the board or chart paper.
6. The teacher will ask students to examine the predictions made. The teacher will lead students in a
discussion focussing on what conclusions we can make about the values our society has based on its
popular culture (e.g., can any of the predicted fads or trends be grouped under a common theme,
environmental awareness, etc.). Students can also be asked how these values compare to the values
we hold as a Catholic community.
7. If this activity is completed at the beginning of the course, it could be revisited at the end of the
course to see if the predictions came true.
8. The teacher will explain how codes and conventions are used by the media: “Codes and conventions
are the familiar, predictable forms and techniques used by the media to communicate certain ideas or
to convey a desired impression” (Mass Media and Popular Culture). Codes and conventions include
visual clues, sounds, physical actions, words, camera angles, and stereotypes.
9. The teacher will use Appendix V, 1b – Codes and Conventions of Popular Culture to further explore
some of the codes and conventions used in popular culture. These codes and conventions will be
further examined in the upcoming activities.
Assessment/Evaluation Techniques
• ANV.03, CR3.02 – sketchbook for responses from group work for evidence of understanding of what
popular culture is and what it includes
• ANV.01, ANV.03, CR3.01, AN2.03 – participation in group work and class discussion (Appendices
V, 1a and V, 1b)
Accommodations
• Assessment can be oral instead of written.
• Arrange for a partner for students to encourage them to participate in group discussion.
• For students who have difficulty recognizing popular culture products and trends, addressing fads
and trends in the school’s own culture can be an immediate access point.
Unit 5 - Page 4
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Resources
Books
Adbusters Magazine. Vancouver: The Media Foundation, 1989. ISSN 0847-9097
Career Press. 2001 Things that Won’t Make it into the 21st Century. New Jersey: Career Press, 1999.
ISBN 1564144399
Duncan, Barry, et al. Mass Media and Popular Culture. Toronto: Harcourt Brace & Company, 1997.
ISBN 0774701714
Pevere, Geoff and Greig Dymond. MondoCanuck: A Canadian Pop Culture Odyssey. Scarborough:
Prentice Hall Canada Inc., 1996. ISBN 0132630885
Popcorn, Faith and Lys Marigold. Clicking. New York: Harper Collins Publishers, 1997.
ISBN 0887308570
Rushkoff, Douglas. Media Virus: Hidden Agendas in Popular Culture. New York: Ballantine Books,
1996. ISBN 0345397746
Walker, Don. Teaching Ideas for Media Literacy: Unit 2-Popular Culture. Toronto: Toronto Catholic
District School Board, 1998.
Videos
Andersen, Neil and John J. Punjente, SJ. Scanning Television: Videos for Media Literacy in Class.
Toronto: Harcourt Brace & Company, 1997.
Appendices
Appendix V, 1a – What Is Popular Culture?
Appendix V, 1b – Codes and Conventions of Popular Culture.
Activity 2: Toys and Games: Let’s Show and Tell
Time: 360 minutes
Description
Students will delve into the world of popular culture in this activity through an exploration of various
toys and games. Through class discussions, individual reflection, and group work, students will critically
analyse the decisions made in the design and creation of the various toys and games brought in by
students of the class. Students will then involve themselves in the design and/or creation of a new toy or
game, using the knowledge they have acquired in the introductory discussion and end with presentations
to the class.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE1d - develops attitudes and values founded on Catholic social teaching and acts to promote social
responsibility, human solidarity, and the common good;
CGE2e - uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media,
technology, and information systems to enhance the quality of life.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.01 - demonstrates an understanding of the design process;
CRV.01 - produces a work designed around specific objectives and challenges (e.g., composition issues,
subject matter, use of visual language);
CRV.03 - explains the importance of process in relation to the final product;
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CRV.04 - uses concepts of visual literacy in describing their art activities;
ANV.01 - applies critical analysis processes to their artwork and works studied;
ANV.02 - identifies sensory, formal, expressive, and technical qualities in their own works and works
studied;
ANV.03 - describes interrelationships among art, the consumer, and the community.
Specific Expectations
TH1.02 - describes the steps of the design process (e.g., specifications, research, experimentation,
preliminary sketches, prototypes, revision, presentation, reflection);
TH2.03 - produces a survey of a particular subject or medium through a period of time, noting stylistic
changes (e.g., posters, photography, typography);
CR1.02 - uses tools, materials, processes, and technologies safely and appropriately;
CR2.01 - demonstrates the ability to solve artistic problems and make creative choices when completing
artworks that reflect their concerns;
CR3.02 - develops sketchbooks, a portfolio, and/or planners that document their personal art process;
AN1.04 - identifies possible meanings of a work by referring to background information and specific
visual indicators;
AN2.02 - demonstrates an understanding of the use of symbols in creative expression;
Planning Notes
Before beginning this unit, the teacher should ask the students to bring in a wide variety of toys from
various stages of their lives. Where security and accessibility are potential problems, students may bring
in pictures or catalogue images of the toys or boxes/packaging for the toys instead of the toys themselves
(no toy weapons). Where possible, access to computers with Internet connections should be arranged for
at least one full class period. If computer access is not available, a Library/Resource Centre research
period should be booked and consultation made with the teacher-librarian regarding available resources
for this activity.
Prior Knowledge Required
The teacher should review basic advertising concepts from the Grade 9 Visual Arts Course Profile (e.g.,
parts of a print ad, storyboards for commercials, etc.). Students should also have a basic knowledge of the
design process (specifications, research, experimentation, preliminary sketches, prototypes, revision,
presentation, reflection).
Teaching/Learning Strategies
1. The teacher will introduce this activity by asking students to brainstorm a variety of toys and games.
The teacher will extend this discussion by asking students to reflect on their own interaction with
toys and games by using the following questions as a guide:
• What types of toys/games did you play with when you were three, seven, and ten years old?
• Who chose these toys and games for you?
• What types of toys/games do you play with now? Why do you play with these toys and games at
this point in your life?
• What types of toys/games did your parents play with when they were your age?
• What types of toys/games do they play with now?
2. Students will complete Appendix V, 2a – Toy/Game Analysis Chart. This can be completed
individually, in pairs, or in groups depending on how many toys and games have been brought in by
the students.
3. The teacher and students will group the toys according to any or all of the following categories:
• toys meant for girls;
• toys meant for boys;
Unit 5 - Page 6
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•
•
toys which promote violence;
educational toys (teach a particular skill or concept which will probably also be taught in
school);
• toys which prepare children for adulthood;
• toys associated with a television show;
• toys children would choose for themselves;
• toys parents would choose for their children;
• toys adults would choose for themselves.
4. The teacher and students will note which toys correspond to which categories. What might this tell us
about the needs or interests of today’s children, teenagers, or adults? How does culture and/or faith
traditions impact on a family’s or individual’s preference for toys?
5. Working in groups, students will work to design and/or create a new toy or game depending on the
materials available (consider safety and use of appropriate materials). Each group will complete the
following:
• notes from Internet or library research on the type of toy or game chosen by the group (most toy
companies will have their own web sites);
• Appendix V, 2b – Toy/Game Design and Construction (all criteria must be met);
• preparatory sketches and ideas for the new product in their sketchbooks;
• detailed drawings of the new product design;
• where possible, creation of the product using materials provided (construction of the toy/game is
more feasible if it involves creating a board game or a game based on cards);
• at least one advertisement for the product (a print ad, a storyboard for a television commercial, a
detailed proposal for a promotional product, etc.).
6. Each group will present their new toy to the class, stating the rationale behind the design and/or
creation of each product.
Assessment/Evaluation Techniques
• THV.01, ANV.01, ANV.03, AN1.04 – completion of Appendix V, 2a – Toy/Game Analysis Chart
for ability to critically analyse the chosen toy
• CR3.02 – sketchbook and Appendix V, 2b – Toy/Game Design and Construction handout for
evidence of understanding of the design process and for evidence of the personal art process
• CR1.02, CR2.01, CR3.02 – drawings and/or creation of toy/game design for ability to solve artistic
and creative problems (e.g., use of elements and principles of design)
• TH1.02, TH2.03 – advertisement for ability to create an artwork with specific objectives
• THV.03, TH1.02 – class presentation for students’ ability to express themselves using the vocabulary
connected to this particular form of media (e.g., toy design and advertising)
• CRV.01, CRV.04 – Appendix V, 2c – Rubric - Media Arts Unit can be used as an evaluation tool for
the entire unit
• ANV.01, ANV.02, ANV.03, AN2.02 – Appendix V, 2d – Self-Assessment - Media Arts Unit can be
used by students as a self-assessment tool for the entire unit
Accommodations
• Students can work in pairs or groups for all of the above-listed activities.
• Where written work is required, students can be assessed orally for evidence of ability to critically
analyse the products presented.
• Students could design the next step for a toy/game issued in a series (e.g., a new doll, video game, the
next adventure creature, etc.).
Unit 5 - Page 7
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Resources
Books
Auerbach, Stevanne and Ben Asen. F.A.O. Schwarz: Toys for a Lifetime: Enhancing Childhood through
Play. Universe Books, 1999. ISBN 0789303558
Canadian Toy Testing Council. Toy Report 1999. Ottawa: Canadian Toy Testing Council, 1999.
ISBN 0-919235-34-4
Cross, Gary. Kids’ Stuff: Toys and the Changing World of American Childhood. Cambridge, Mass:
Harvard University Press, 1997. ISBN 067450335X
Harvey, Robin. “The Buying Game.” The Toronto Star, (Saturday, Nov. 27, 1999): pp. M1-M2.
Provenzo, Jr., Eugene F. Video Kids: Making Sense of Nintendo. Cambridge: Harvard University Press,
1991. ISBN 0674937090
Turner, Janice. “Enduring Toys have more ‘Playing Power’.” The Toronto Star, (Saturday, Nov. 27,
1999): p. M3.
Turner, Janice. “How to Choose Toys.” The Toronto Star, (Saturday, Nov. 27, 1999): p. M3.
Web Sites
The Canadian Toy Testing Council
www.toy-testing.org
Dr. Toy
www.drtoy.com
Appendices
Appendix V, 2a – Toy/Game Analysis Chart
Appendix V, 2b – Toy/Game Design and Construction
Appendix V, 2c – Rubric – Media Arts Unit
Appendix V, 2d – Self-Assessment – Media Arts Unit
Activity 3: Music Videos: Packaging an Image
Time: 360 minutes
Description
In this unit, students will be made aware of the codes and conventions used in music videos. Viewing
activities and post-viewing discussions will encourage students to be critical and aware of the many
images they are bombarded with when they watch music videos. Students will reflect on the use of
technology, the attitudes and values suggested and promoted by the videos, and the concept of the video
as an advertisement. The culminating activity will be the creation of a storyboard, script, and, where
possible, their own short video.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE1d - develops attitudes and values founded on Catholic social teaching and acts to promote social
responsibility, human solidarity and the common good;
CGE2e - uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media,
technology, and information systems to enhance the quality of life;
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and
experience;
CGE7b - accepts accountability for one’s own actions.
Unit 5 - Page 8
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Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.01 - demonstrates an understanding of the design process;
CRV.01 - produces a work designed around specific objectives and challenges (e.g., composition issues,
subject matter, use of visual language);
CRV.03 - explains the importance of process in relation to the final product;
ANV.01 - applies critical analysis processes to their artwork and works studied;
ANV.02 - identifies sensory, formal, expressive, and technical qualities in their own works and works
studied;
ANV.03 - describes interrelationships among art, the consumer, and the community.
Specific Expectations
TH2.03 - produces a survey of a particular subject or medium through a period of time, noting stylistic
changes (e.g., posters, photography, typography);
CR1.02 - uses tools, materials, processes, and technologies safely and appropriately;
CR2.01 - demonstrates the ability to solve artistic problems and make creative choices when completing
artworks that reflect their concerns;
CR2.02 - demonstrates the ability to use an increasing range of tools, materials, processes, and
technologies in producing works of fine art and applied design;
CR2.04 - demonstrates ever-expanding use of technology in producing artworks;
CR3.01 - uses appropriate visual arts vocabulary in describing materials and processes;
AN1.04 - identifies possible meanings of a work by referring to background information
and specific visual indicators;
AN2.02 - demonstrates an understanding of the use of symbols in creative expression;
AN2.03 - describes how a culture shapes its art with reference to historical and contemporary examples
(e.g., Byzantine icons, Chinese landscape, painting in fifteenth-century Europe, pre-Columbian pottery,
Warhol’s soup cans).
Planning Notes
Before beginning this unit, the teacher should collect and preview a variety of music videos approved for
classroom use, both current and historical. Students may wish to bring in their own recordings of music
videos but these should be previewed by the teacher. See Resources for video suggestions which can be
purchased at music and/or video stores. Where possible, video equipment should be booked in advance
for the culminating activity. If videotaping is made part of this activity, the time allocated for this activity
will need to be extended. Note: Although it may be tempting to focus on the negative aspects of this
medium, it is important that the opportunities for discussion and reflection presented in this activity
allow students to express the importance of music in their lives and their feelings towards the music
videos they watch at home and those presented in class.
Prior Knowledge Required
The teacher may need to review the appropriate format for storyboards, scripts, and the proper use of a
video camera where cameras are available. Some resources are listed with this unit which would be
helpful in reviewing or introducing this process.
Teaching/Learning Strategies
1. This activity can begin with a class discussion on the importance of music in the lives of the students.
How much time do they spend listening to music each day? Does it have any influence on the friends
they have? Does it influence the way they dress, the way they talk? How much time do they spend
watching music videos?
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2. The teacher will extend the discussion on music and music videos by commenting on any or all of the
following topics connected to music videos. The following topics can be further explored by the
teacher through the suggested resources for this unit:
• the music video is an advertisement for the performers, the music industry, clothing companies,
dance styles, and other products such as junk food, films, etc.;
• the music video often reflects an idealized lifestyle;
• it is almost impossible to succeed in the world of popular music today without videos
accompanying a performer’s music;
• music videos are, for the most part, targeted at teenagers;
• music videos can be a venue for the introduction of new technologies (e.g., morphing was
introduced in Michael Jackson’s black or white video);
• music videos usually involve an incredible amount of edits with each image lasting only onethird of a second;
• there can be a lot of controversy surrounding music videos because of the issues raised or
attitudes suggested in a video (e.g., sexism, racism, etc.);
• music videos can also be positive creative forms of expression which focus on a performer’s
vision of his/her music and lyrics;
• music videos can involve a performance, a narrative, a creative concept;
• music videos often blur the line between fantasy and reality;
• does the music video support individuality and the destiny of the human spirit or does it support
uniformity?
3. The teacher will choose a current video to be viewed by the class four times. It is important that for
the first three viewings, the video is seen but not heard. Appendix V, 3a – Video Response
accompanies these viewing activities.
Viewing 1 – With a paper and pencil in front of them, students will keep their eyes on the screen and
place a tick on their paper for each edit or flash frame in the video. At the end of the first viewing,
students will be asked to comment on their general impression of the tone of the video (e.g.,
humourous, serious, disturbing, etc.);
Viewing 2 – Focussing on the people in the video, students will describe the males and females in the
video, commenting on their clothing, actions, attitudes, and also note which cultures/races are
represented in the video and how they are presented;
Viewing 3 – Focussing on the technical aspects of the video, students will comment on the use of
special effects, camera angles, lighting, etc. and also note if there are any products being advertised
in the video (e.g., junk food, clothing, films, etc.);
Viewing 4 – The sound is turned on for the final viewing and students will be asked to focus on the
connection between the lyrics and the images presented in the video (e.g., Do the images coincide
with the words? How are the song and video connected?);
Post Viewing – The class will discuss the values of society presented by the video. Students may also
be asked if they were a parent, would they let their teenager watch this video? Why or why not?
Considering the personal, social, and moral perspective of the Catholic Learner, ask students if any
aspects of the issues challenge their own sense of ethics or values.
4. Working in groups, students will be given the opportunity to create storyboards (Appendix V, 3b –
Storyboard Template) for their own videos. It is important that, for each of these videos, teenagers
are the target audience. Where possible, these videos can be taped. There should be at least one
group completing each of the following objectives:
Group 1 will create a video visualizing a poem (in part or in full) written by a poet that the students
are not familiar with;
Group 2 will create a video visualizing a song with no lyrics (in part or in full) that students are
unfamiliar with;
Unit 5 - Page 10
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Group 3 will create a video visualizing a popular song (in part or in full) for which there is no video.
5. Once completed, the storyboards or videos will be presented to the class. Each presentation should
note the choices and decisions that each group made in putting together their video. What did each
group focus on? What factors affected the decisions they made? What conclusions can be drawn
from the process the students have gone through in creating their videos about the music industry and
the purpose of music videos?
Assessment/Evaluation Techniques
• CRV.03, ANV.01, ANV.02, ANV.03, CR3.01, AN2.02 – Appendix V, 3a – Video Response for
ability to critically analyse an artwork
• CRV.01, CR1.02, CR2.02, CR2.04 – Appendix V, 3b – Storyboard Template and/or videos created
for ability to create an artwork with a specific objective
• THV.01, ANV.01, AN1.04 – Appendix V, 2c – Rubric - Media Arts Unit can be used as an
evaluation tool for the entire unit
• CRV.03, ANV.01, ANV.02, CR3.01, AN1.04 – Appendix V, 2d – Self-Assessment – Media Arts
Unit can be used by students as a self-assessment tool for the entire unit
Accommodations
• Students can respond orally to the questions on the Video Response handout.
• Group work will allow students to be partnered with others.
• Filming and editing of videos can extend the activity.
• Students can create storyboards for already existing music videos.
Resources
Books
Hitchcock, Peter. Videography: The Guide to Making Videos. Toronto: Peter Hitchcock Productions,
1992.
Media Literacy: Resource Guide for Intermediate and Senior Divisions. Ontario: Ministry of Education,
1989. ISBN 0772950903
Rushkoff, Douglas. Media Virus: Hidden Agendas in Popular Culture. New York: Ballantine Books,
1996. ISBN 0345397746
Walker, Don. Teaching Ideas for Media Literacy. Toronto: Toronto Catholic District School Board,
1998.
Videos
Madonna: Video Collection 1992-1999. Warner Home Video, 1999. UPC 075993850628
Michael Jackson - Video Greatest Hits - HIStory. Sony Music Distribution, 1995. UPC 074645012339
Michael Jackson - History on Film Volume II. Sony Music Distribution, 1997. UPC 074645013831
Web Sites
Hype: Monitoring the Black Image in the Media
www.afrikan.net/hype/cover1.htm
I Want My MTV
www.engl.virginia.edu/~enwr1016/mwo2x/mtv.html
MuchMusic
www.muchmusic.com
Music Television (MTV)
www.mtv.com
Unit 5 - Page 11
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Pop Culture and the Media: Lesson 3: Popular Music and Music Videos
www.media-awareness.ca/eng/med/class/teamedia/popcult3.htm
Appendices
Appendix V, 2c – Rubric - Media Arts Unit
Appendix V, 2d – Self-Assessment - Media Arts Unit
Appendix V, 3a – Video Response
Appendix V, 3b – Storyboard Template
Activity 4: The Socially Conscious Comic Book Hero
Time: 360 minutes
Description
The concept of the “hero” is explored in this activity through an examination of comic book heroes.
Students will reflect on their definitions of heroism while researching and creating their own comic book
hero. The heroes created will be connected to a variety of social issues chosen by the students.
Extensions of this activity will allow for use of current technologies and exploration of related career
options.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations:
CGE1d - develops attitudes and values founded on Catholic social teaching and acts to promote social
responsibility, human solidarity, and the common good;
CGE2e - uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media,
technology, and information systems to enhance the quality of life.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.01 - demonstrates an understanding of the design process;
CRV.01 - produces a work designed around specific objectives and challenges (e.g., composition issues,
subject matter, use of visual language);
CRV.03 - explains the importance of process in relation to the final product;
ANV.03 - describes interrelationships among art, the consumer, and the community.
Specific Expectations
TH1.02 - describes the steps of the design process (e.g., specifications, research, experimentation,
preliminary sketches, prototypes, revision, presentation, reflection);
TH2.03 - produces a survey of a particular subject or medium through a period of time, noting stylistic
changes (e.g., posters, photography, typography);
CR1.02 - uses tools, materials, processes, and technologies safely and appropriately;
CR2.01 - demonstrates the ability to solve artistic problems and make creative choices when completing
artworks that reflect their concerns;
CR2.02 - demonstrates the ability to use an increasing range of tools, materials, processes, and
technologies in producing works of fine art and applied design;
CR2.04 - demonstrates ever-expanding use of technology in producing artworks;
CR3.02 - develops sketchbooks, a portfolio, and/or planners that document their personal art process.
Unit 5 - Page 12
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Planning Notes
The teacher will need to collect a variety of comic books for students to view in class. These may be
brought in by the students themselves or, where Internet access is available, students could browse a
variety of web sites listed in the resources section of this activity in order to complete the required
research for this activity. Teachers will need to closely monitor students during this activity and set
boundaries to avoid viewing or replicating of violent or other inappropriate images during both the
research and creation stages of the activity.
Prior Knowledge Required
Students should have some knowledge of basic figure drawing concepts.
Teaching/Learning Strategies
1. The opening discussion for this activity focusses on the students’ definitions of heroes and a wider
definition such as religious and social justice heroes (e.g., Jesus Christ, Mary Ward, Jean Vanier,
Archbishop Romero, firefighters, etc.). The following questions can be used to begin this discussion:
• Who are your heroes?
• Are these heroes celebrities or people you know?
• What makes them heroes?
• How do real life heroes differ from celebrity heroes?
• How would you describe comic book heroes?
• What types of plots do comic books usually have?
• How are women usually portrayed in comic books?
• How are men usually portrayed in comic books?
• What is a stereotype?
2. The above discussion and reflection will be followed by students sampling a variety of comic books.
Working in groups, students can examine a few different comic books focussing on the hero in each
story and using the following questions to guide them:
• Who is the hero in the story?
• What obstacles does the hero face?
• Does the hero encounter any villains or forces of evil?
• What is it about the hero that allows him/her to overcome the obstacles?
• Does the hero have any weaknesses or faults? What are they?
• Is the hero a stereotypical one? Why or why not?
If time permits and Internet access is available, students can research comic book heroes on the
Internet. See Resources for web sites. These opening discussions could also include samples of
animation videos.
3. Students will begin work on creating their own comic book hero, however, their comic book hero
will be one with a social conscience. This process can start with some gesture drawing using a model
in the class. Proportions of the figure should be introduced or reviewed here. An examination of the
following drawing concepts will assist students in preparing their sketches for their comic book
heroes:
• head shapes;
• facial features and expressions;
• hair;
• action poses;
• hand, foot;
• perspective and foreshortening;
• fabric folds for costuming;
Unit 5 - Page 13
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• textures for backgrounds;
• special effects (e.g., bursts).
4. Students will create a written profile in their sketchbooks for their socially conscious comic book
hero. This profile should include the following details:
• physical description: height, weight, sex, costume, strength level;
• personality description;
• hero’s task -What social issue will he/she tackle? (e.g., hero’s task may be to save homeless
people, etc.);
• hero’s name;
• hero’s weaknesses or faults;
• description of the first journey this hero may encounter in his/her debut comic book;
• description of obstacles this hero will encounter on his/her first journey.
Stereotypes could be addressed here through a discussion of how male and female comic book heroes
are usually portrayed. Students could be encouraged to create their heroes in such a way that would
not be stereotypical.
The creation of this profile could be accompanied by a brief research project on the social issue
chosen by the student.
5. A detailed drawing will be completed of the comic book hero. This drawing should be the result of
the following steps in the design process:
• thumbnail sketches;
• rough pencil layout;
• detailed drawing and/or gouache painting of the comic book hero, including the name of the
comic book hero.
Where possible, this character could also be created using computers or air-brushing equipment.
6. Possible extensions for this activity could include:
• scanning completed drawings into a computer and printing a book containing all of the comic
book heroes created by the class (copies could be made and distributed to all class members);
• students could create the first comic book page of the hero’s debut issue;
• where computer animation programs are available, animated shorts could be created using the
comic book heroes;
• related career options could be discussed and researched on the Internet while pointing out the
long history which Canadian artists have both in the comic book and animation industries (e.g., a
Torontonian created Superman, many Disney artists are Canadian, there are many special effects
companies in Toronto, Vancouver and Montreal, etc.). See Resources for suggestions.
Assessment/Evaluation Techniques
• THV.01, CRV.01, CRV.03, CR1.02, TH1.02, CR1.02, CR3.02 –
sketchbook for evidence of the design process including:
• figure drawings
• written profile of the comic book hero
• thumbnail sketches
• rough pencil layout
• THV.03, TH2.03, CR1.02, CR2.01, CR2.02, CR2.04 – final drawing/painting/computer image for
ability to solve creative problems and to create an artwork with a specific objective in mind
• CR2.04 – depending on the materials and equipment available, the final artwork could also be
evaluated for the student’s ability to make use of available technologies or to make use of a variety of
art-making tools and materials
Unit 5 - Page 14
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•
•
THV.01, CRV.03, ANV.03 – Appendix V, 2c – Rubric – Media Arts Unit can be used as an
evaluation tool for the entire unit
TH1.02, ANV.03, CR3.02 – Appendix V, 2d – Self-Assessment – Media Arts Unit can be used by
students as a self-assessment tool for the entire unit
Accommodations
• Activity could be completed in pairs.
• Written work could be completed by a scribe.
• Students could orally describe their socially conscious comic book hero while another student
sketches the hero. The details could be further developed from there.
• Student’s comfort level should be assessed before attempting use of new technologies or equipment.
Resources
Books
Daniels, Les. Batman: The Complete History. Chronicle Books, 1999. ISBN 0811824705
Daniels, Les. Superman: The Complete History. Chronicle Books, 1999. ISBN 0811821625
Hart, Christopher. How to Draw Comic Book Heroes and Villains. New York: Watson-Guptill
Publications, 1995. ISBN 823022455 (teacher reference only)
Hart, Christopher. How to Draw Animation. New York: Watson-Guptill Publications, 1997.
ISBN 0823023656
Hart, Christopher. How to Draw Comic Book Bad Guys and Girls. New York: Watson-Guptill
Publications, 1998. ISBN 0823023729
Laybourne, Kit. The Animation Book. New York: Crown Publishers, Inc., 1998.
Locke, Lafe. Film Animation Techniques. Virginia: Betterway Publications, Inc., 1992.
Mazurkewich, Karen. Cartoon Capers: The History of Canadian Animators. Toronto: McArthur and
Company, 1999. ISBN 1552780937
White, Tony. The Animator’s Workbook: Step-by-Step Techniques of Drawn Animation. New York:
Watson-Guptill Publications, 1988. ISBN 0823002292
Videos
Animation in the Classroom. Sax Canada.
Antz. DreamWorks Home Entertainment, 1998. UPC 667068417630
A Bug’s Life. Buena Vista Home Video, 1999. UPC 786936088250
Toy Story. Walt Disney Home Video, 1996. UPC 786936670332
Web Sites
Comics Code 1989
www.sigma.net/comichistory/cca3.html
C.O.R.E. Digital Pictures
www.coredp.com
DC Comics
www.dccomics.com
Gajdecki Visual Effects
www.gvfx.com
History of Comic Books
www.geocities.com/Sotto/5537/hist.htm
The History of Superhero Comic Books
www.sigma.net/comichistory/Hist4.html
Unit 5 - Page 15
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Marvel Comics
www.marvelcomics.com
Our Heroes
www.ourheroes.ca
Path of Heroes
www.heroes.ca
Visual Effects Headquarters
www.vfxhq.com
The Visual Effects Resource Center
www.visualfx.com
Walt Disney
http://kisney.go.com/home/
Appendices
Appendix V, 2c – Rubric - Media Arts Unit
Appendix V, 2d – Self-Assessment - Media Arts Unit
Activity 5: Walk This Way: Shoe Design and the Shoe Industry
Time: 360 minutes
Description
As a branch of fashion design, this activity will focus on the shoe and allow students to trace the
progression of a particular shoe style (e.g., the sneaker, the boot, etc.) throughout history. Students will
not only research their chosen shoe style, but also design the next step in that style’s development.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE2e - uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media,
technology and information systems to enhance the quality of life;
CGE1d - develops attitudes and values founded on Catholic social teaching and acts to promote social
responsibility, human solidarity, and the common good.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.01 - demonstrates an understanding of the design process;
CRV.01 - produces a work designed around specific objectives and challenges (e.g., composition issues,
subject matter, use of visual language);
ANV.01 - applies critical analysis processes to their artwork and works studied;
ANV.03 - describes interrelationships among art, the consumer, and the community.
Specific Expectations
TH1.02- describes the steps of the design process (e.g., specifications, research, experimentation,
preliminary sketches, prototypes, revision, presentation, reflection);
TH2.03 - produces a survey of a particular subject or medium through a period of time, noting stylistic
changes (e.g., posters, photography, typography);
CR2.02 - demonstrates the ability to use an increasing range of tools, materials, processes, and
technologies in producing works of fine art and applied design;
CR3.02 - develops sketchbooks, a portfolio, and/or planners that document their personal art process;
Unit 5 - Page 16
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AN2.03 - describes how a culture shapes its art with reference to historical and contemporary examples
(e.g., Byzantine icons, Chinese landscape, painting in fifteenth-century Europe, pre-Columbian pottery,
Warhol’s soup cans).
Planning Notes
The teacher should make available a variety of magazines, preferably fashion or sports magazines.
Consultation with the teacher-librarian is recommended in terms of collecting resources for the research
component of this activity. An excellent web site (Solemates: The Century in Shoes) is listed below if
Internet access is available.
Prior Knowledge Required
Students should be made aware of the design process (e.g., specifications, research, experimentation,
preliminary sketches, prototypes, revision, presentation, reflection).
Teaching/Learning Strategies
1. As an introduction, shoe design will be presented as a branch of fashion design. Students will be
asked to cut out magazine images of as many different types of shoes as they can find in a given time
(20 minutes). These images could be pasted into their sketchbooks. Students will share their findings
with other students, noting the many different styles of shoes.
2. The teacher will bring together the cut and paste activity by listing the many different styles of shoes
(e.g., the sneaker, the boot, the pump, the sandal, the slipper, the loafer, etc.). This list will lead the
class into a discussion prompted by the following questions:
• What might a shoe tell us about a person’s lifestyle?
• What might a particular shoe design tell us about a generation?
• What influences a change in a style? (e.g., designers, fashion shows, super models, fashion
magazines, advertising, television shows, celebrities, sports stars, etc.)
3. Students choose a shoe style from the list created and research that style through a number of
decades as outlined by the teacher. Students will present their research in one of the following
formats:
• a written essay accompanied by drawings of the shoe style’s history;
• an oral presentation accompanied by drawings of the shoe style’s history;
• an oral presentation accompanied by slides;
• a PowerPoint presentation (where available).
4. Students will be given the opportunity to design their own shoe by predicting the next step in the
history of their chosen shoe style (e.g., what will this shoe style look like in the next five years?).
Students must complete preliminary sketches before creating their final design that should be
accompanied by a written or oral rationale for the decisions made in the designing of their shoes.
5. A follow-up discussion to this activity could be a focus on the sneaker and the media attention and/or
child labour in foreign countries. A few web sites are recommended below for research on this topic.
This discussion could trigger school awareness campaigns that may involve the art students in the
design of posters and other promotional materials.
6. Extensions for this activity could include:
• the study of ad campaigns for a particular shoe company or shoe style;
• a class trip to a museum or a shoe museum;
• where possible, a visit to a variety of shoe stores would be beneficial.
Unit 5 - Page 17
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Assessment/Evaluation Techniques
• THV.01, CR3.02 – sketchbook for cut-and-paste activity and preliminary sketches for the shoe
design as evidence of the creative process
• TH2.03, CR3.02, AN2.03 – research component for the ability to produce a survey of a particular
subject or medium through a period of time, noting stylistic changes, and for the ability to recognize
connections between art and culture
• CR2.02 – the shoe design for understanding of the design process
• TH1.02, ANV.03 – Appendix V, 2c – Rubric – Media Arts Unit can be used as an evaluation tool for
the entire unit
• THV.01, CRV.01, ANV.01, ANV.03 – Appendix V, 2d – Self-Assessment – Media Arts Unit can be
used by students as a self-assessment tool for the entire unit
Accommodations
• oral and visual presentations in place of written work
• computer design work in place of hand-drawn designs
Resources
Books
Finkelstein, Joanne. Fashion: An Introduction. New York: New York University Press, 1998.
ISBN 0814726836
Lehnert, Gertrud. Fashion: An Illustrated Historical Overview. New York: Barron’s Educational Series,
1998. ISBN 0764104373
Vanderbilt, Tom. The Sneaker Book: Anatomy of an Industry and an Icon. New York: The New Press,
1998. ISBN 1565844068
Web Sites
Adidas
www.adidas.com
Bata Shoe Museum
www.batashoemuseum.ca
Converse
www.converse.com
Nike
www.nike.com
Press for Change
www.pfc.org.uk
Reebok
www.reebok.com
Sneaker Central
www.sneakercentral.com
Solemates: The Century in Shoes
www.centuryinshoes.com/home.html
Stop Sweatshops!
www.uniteunion.org/sweatshops/sweatshop.html
Appendices
Appendix V, 2c – Rubric – Media Arts Unit
Appendix V, 2d – Self-Assessment – Media Arts Unit
Unit 5 - Page 18
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Activity 6: Snap, Crackle, Pop Culture: Food for Thought
Time: 360 minutes
Description
Food will be presented in this activity as an important component and ritual of popular culture and family
traditions. Students will investigate the food products that they consume and the food companies who use
teenagers as a target audience/market for their products. Students will reflect on the reasons behind
decisions made in product, package, and advertising design, using their conclusions to design their own
new food product. This activity can be enhanced by Internet research.
Strands and Expectations
Ontario Catholic School Graduate Expectations
CGE1d - develops attitudes and values founded on Catholic social teaching and acts to promote social
responsibility, human solidarity, and the common good;
CGE7I - respects the environment and uses resources wisely.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.01 - demonstrates an understanding of the design process;
CRV.01 - produces a work designed around specific objectives and challenges (e.g., composition issues,
subject matter, use of visual language);
ANV.01 - applies critical analysis processes to their artwork and works studied;
ANV.03 - describes interrelationships among art, the consumer, and the community.
Specific Expectations
TH1.02 - describes the steps of the design process (e.g., specifications, research, experimentation,
preliminary sketches, prototypes, revision, presentation, reflection);
CR2.01 - demonstrates the ability to solve artistic problems and make creative choices when completing
artworks that reflect their concerns;
CR2.02 - demonstrates the ability to use an increasing range of tools, materials, processes, and
technologies in producing works of fine art and applied design;
CR2.04 - demonstrates ever-expanding use of technology in producing artworks;
CR3.03 - demonstrates the ability to review and evaluate the creative processes they use, as well as the
resulting artworks;
AN2.03 - describes how a culture shapes its art with reference to historical and contemporary examples
(e.g., Byzantine icons, Chinese landscape, painting in fifteenth-century Europe, pre-Columbian pottery,
Warhol’s soup cans).
Planning Notes
The teacher will need to bring in a popular food product and a corresponding print ad or television
commercial for the introduction to this activity. Students will also bring in food products as described
below on a voluntary basis. The school cafeteria could also be a source of food packaging. Where
possible, access to the Internet should be arranged.
Prior Knowledge Required
Students should have an understanding of the elements and principles of design. Students should also be
familiar with what a target audience/market is.
Unit 5 - Page 19
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Teaching/Learning Strategies
1. The teacher will present a food product and a corresponding print ad or television commercial which
is obviously targeted at teenagers. Students will comment on how they might recognize that they are
the target audience/market for the ad and food product (e.g., what is it about the product and its ad
that would appeal to teenagers?).
2. On a voluntary basis, students will bring in food products (or packages for these products) which
they enjoy eating and for which they have recently seen a print ad or television commercial. Working
in groups, students will examine each of the group’s food products and discuss whether or not they
would purchase these products giving reasons for their responses. References should also be made to
the ad campaigns for these food products. Responses should be recorded in their sketchbooks. Where
possible, students will research a variety of popular food products on the Internet, noting in particular
the package design for these products.
3. Working in groups and in their sketchbooks, students will design a new food product targeted at
teenagers. This food product could be bottled water, a breakfast bar, a sports drink, candy, fast-food,
a soft drink, etc.
4. Each group member will sketch, design, and create their own package design for the new food
product. The package must include a logo for the product and the student should decide on a retail
price for the product as well. Student names are not to appear on the packages.
5. A grocery store or food court will be set up in the classroom where all of the food packages are on
display. Beside each product there should be a price tag and a blank sheet of paper. Students will
“shop” around, placing a checkmark beside each product that would appeal to them and which they
would purchase. At the end of the shopping spree, the top five products will be collected (the ones
with the most checkmarks). Students will be asked to explain why these products were the most
popular, noting what it is about the packaging for the product that appeals to them. Please note that
this activity should not be presented as a competition but as a study of the reasons behind the
decisions consumers make when purchasing food products.
6. Possible extensions for this activity could include:
• design of a corresponding print ad for the new food product;
• storyboard for television commercial for the new food product;
• discussion and research focussing on the environmental concerns surrounding excessive food
packaging with particular emphasis on the fast-food industry;
• research the imbalance of food distribution in our world and local needs in terms of food banks.
Assessment/Evaluation Techniques
• TH1.02, CR2.01, CR2.02, CR3.03 – sketchbook for evidence of the creative and design processes
• TH1.02, CR2.01, CR2.02, CR2.04, CR3.03, AN2.03 – package design for ability target a particular
audience or market (create an artwork around specific objectives) and for use of the elements and
principles of design
• THV.01, CRV.01, ANV.01, ANV.03 – Appendix V, 2c – Rubric – Media Arts Unit can be used as
an evaluation tool for the entire unit; Appendix V, 2d – Self-Assessment – Media Arts Unit can be
used by students as a self-assessment tool for the entire unit
Accommodations
• Use peer partner to assist with package design and construction.
• Two-dimensional package design could be presented in place of three-dimensional construction.
• Use computer for package design.
Unit 5 - Page 20
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Resources
Books
Young-Witzel, Gyvel and Michael Karl Witzel. Soda Pop! From Miracle Medicine to Pop Culture.
Vancouver: Raincoast Books, 1998. ISBN 1551921391
Web Sites
Coca-Cola
www.coke.com
McDonald’s
www.mcdonalds.com
Appendices
Appendix V, 2c – Rubric – Media Arts Unit
Appendix V, 2d – Self-Assessment – Media Arts Unit
Unit 5 - Page 21
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Appendix V, 1a
What Is Popular Culture?
Popular Culture includes
Toys
Fashion
Gossip
Pop stars
The mall
Video games
TV sitcoms
Logos
Slang terms
T-shirts
Music
Posters
Music videos
The Internet
Rollerblades
Magazines
Hairstyles
Souvenirs
Knapsacks
Candy
Jewellery
Baseball caps
Cartoons
Comic books
CDs
DVDs
Lunch boxes
movies
Tape/CD players
Junk food
How do we involve ourselves with popular culture?
• By going to a mall
• By going to a movie
• By taking the bus and reading the ads on the bus
• By driving a sports car
• By putting pictures of your favourite bands in your locker
•
•
•
•
•
Unit 5 - Page 22
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Appendix V, 1b
Codes and Conventions of Popular Culture
What meanings do you associate with the following codes and conventions of popular culture?
Code/Convention
Possible Meaning(s)
- a pink toy
- a blue toy
- threatening music in a film
-a person with a clenched fist
- a comic book character dressed in black
- a teenager with a shaved head
- dreadlocks
- a male with an earring
- combat boots
- a miniskirt
- school uniform
What are some of the codes and conventions used in the following media texts?
Media Text
Codes/Conventions
- a hip-hop video
- a news show
- a beer commercial
- a love song
- a children’s book cover
- a wrestling match
- a makeup ad
- a motorcycle gang member
- a chocolate bar wrapper
- jewellery icons
Unit 5 - Page 23
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Appendix V, 2a
Toy/Game Analysis Chart
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
Name of Toy/Game
What does your toy look like? (colour, materials used,
size, etc.)
How much does your toy currently cost?
How long has your toy been on the market?
What age group would enjoy playing with this toy?
Why?
What is the purpose of this toy? (education,
entertainment, etc.)
How long do you think someone could play with this
toy? (short-term/occasional enjoyment, or sustained
play value)
Is this toy easily portable?
If your toy is for children, who is more likely to choose
this toy - the parents or the child? Why?
Is this toy easy to maintain? (e.g., Does it need batteries
or other additional pieces? Does it appear to be
fragile?)
Is this toy challenging for the targeted age group?
Does this toy encourage people to interact with each
other?
Does this toy encourage physical activity?
Does this toy require previous knowledge or
experience?
Would this toy be appropriate for a variety of races and
cultures?
Does this toy promote creativity and imagination?
Does this toy encourage self-expression? (e.g., roleplaying, etc.)
What emotions might someone feel while playing with
this toy?
What values does this toy promote?
Would you buy this toy? Why or why not?
Unit 5 - Page 24
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Appendix V, 2b
Toy/Game Design and Construction
Requirements
Your toy/game must:
• target one of the following age groups:
0-2 years, 3-5 years, 6-8 years, 9-11 years, 12-14 years, 15-18 years, 19-21 years, 22+ years;
• be non-violent;
• be challenging for the age group chosen;
• not be gender-biased;
• be inclusive in terms of race and culture.
Design Process
Consider the following in your planning stages:
• type of toy/game (e.g., doll, board game, video game, etc.);
• name for toy/game;
• targeted age group;
• materials needed for construction of toy/game;
• packaging for toy/game;
• price of toy/game;
• sustainability (short-term or long-term enjoyment);
• portability;
• additional equipment needed (batteries, paper, etc.);
• previous knowledge/experience needed;
• advertising campaign for the product;
• How many players?;
• What values will your toy/game reflect and/or promote?
Unit 5 - Page 25
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Appendix V, 3a
Video Response
You will be watching the same video four times noting the following:
Viewing 1
Keeping your eyes on the screen, place a tick on the paper in front of you (you can use the reverse of this
sheet) for each flash frame or edit in the video.
At the end of the video, what is your general impression of the tone of the video? Is it serious,
humourous, disturbing, energetic, mellow, etc.?
Viewing 2
Does the performer actually appear in the video?
Describe the males and females in the video. What are they wearing? What are they doing?
What cultures/races are represented in this video? How are they represented?
Viewing 3
Are there any special effects used in this video? If so, describe them.
Are there any products being advertised in this video (e.g., junk food, clothing, etc.)?
Viewing 4
Are the lyrics of the song connected to the images in the video? Why or why not?
Post Viewing Discussion
What values and attitudes of society are reflected in this video? If you were a parent, would you permit
your teenage son/daughter to watch this video? Why or why not?
Unit 5 - Page 26
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Appendix V, 3b
Storyboard Template
Script Title:
Written By:
VIDEO (image and camera shot):
AUDIO:
VIDEO (image and camera shot):
AUDIO:
VIDEO (image and camera shot):
AUDIO:
Unit 5 - Page 27
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Appendix V, 2c
Rubric – Media Arts Unit
Criteria
Level 1
Theory (Knowledge/Understanding)
Knowledge of mediarelated terms and
concepts
Knowledge of elements
and principles of
design
Level 2
- demonstrates
limited knowledge
of media-related
terms
- demonstrates
limited
understanding of
elements and
principles of design
as they apply to
analysis and
creation of media
texts
- demonstrates some
knowledge of mediarelated terms
- reads media texts
at face value
- beginning to
deconstruct media texts
- not able to
deconstruct media
texts into their
component parts
- is able to recognize
some of the component
parts of the media texts
- demonstrates some
understanding of
elements and principles
of design as they apply
to analysis and creation
of media texts
Level 3
Level 4
- demonstrates
considerable
knowledge of mediarelated terms
- demonstrates
considerable
understanding of
elements and
principles of design as
they apply to analysis
and creation of media
texts
- demonstrates thorough
knowledge of media-related
terms
- is able to
deconstruct media
text
- is able to recognize
the component parts
- is able to deconstruct media
texts and recognize their
component parts; can apply
these skills to a wide variety of
media texts
- demonstrates thorough
understanding of elements and
principles of design as they
apply to analysis and creation
of media texts
Thinking/Inquiry
Ability to critically
analyse a variety of
media texts
Understanding that all
media are constructed
(codes and
conventions)
Creation (Application)
Creation of media texts
(e.g., toy design, video
storyboard, shoe
design, etc.) as per the
elements and principles
of design
Ability to create a
media text for a
particular group of
people (target
audience)
- limited
contribution to
creation of media
text
- creates media texts
which are copies or
which mimic other
media texts
- creates original
media texts with some
consideration of the
elements and
principles of design
- creates original media texts
with thoughtful consideration
of the elements and principles
of design
- limited knowledge
of target
group/audience
- some evidence of
acknowledgement of
target group/audience
- evidence of
consideration of
target group/audience
- thoughtful consideration
given to target group/audience
- limited recognition
of values promoted
by media texts
- some recognition of
values promoted by
media texts and how
they compare to
Catholic social and
moral values
- is usually able to
recognize the values
promoted by media
texts and can compare
them to Catholic
social and moral
values
- is always able to recognize the
values promoted by media texts
and can compare them to
Catholic social and moral
values
- is able to incorporate Catholic
social and moral values into the
creation of student’s own media
texts
OCSGD
Applies Catholic social
and moral values in the
critical analysis of
media arts
Note: A student whose achievement is below level 1 (50%) has not met the expectations for this
assignment or activity.
Unit 5 - Page 28
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Appendix V, 2d
Self-Assessment – Media Arts Unit
Level 1
(Rarely)
Level 2
(Sometimes)
Level 3
(Usually)
Level 4
(Always)
Theory
I participated in class
and/or group
discussions.
I completed all
handouts and written
work related to this
unit.
I am able to
deconstruct a media
text into its component
parts and explain how
it is created.
Creation
I completed all
preparatory sketches
and related research
for my media
text/product design.
I thoroughly
completed all steps of
the design process to
produce a final media
text product.
The media
text/product I created
was made with a
specific target
audience/group in
mind.
Analysis
I presented my ideas
effectively.
I am able to critique
my final product for its
strengths and
weaknesses.
Unit 5 - Page 29
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Unit 6: Making a Living, Making Art?
Time: 12 hours
Unit Description
Students will consider many of the careers in the arts discussed throughout the course. They will select
careers that appeal to them and conduct research using the Internet, local artists, or the print media. This
culminating unit will involve a formal presentation to classmates and/or a school display. Visual images,
artist samples, and/or examples will be included in the presentation. As part of the presentation the
students may create a culminating piece (their choice) using a technique, and/or medium they have
learned while studying the career (e.g., a poster advertising the sale of glass bowl or creation of Fimo
jewellery, medical illustrations, etc.).
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations: CGE1g, 2c, 4f,g, 5b, d, g, h, 7j.
Strand(s): Theory, Creation, Analysis
Overall Expectations: THV.04, CRV.01, 04; ANV.01, 03.
Specific Expectations: TH1.02; TH2.01; TH3.01, 02, 03, 04; CR1.02, 03; CR2.02, 03, 04.
Activity Titles (Time + Sequence)
Activity 1
Activity 2
Activity 3
Creative Careers!
Drawing on an Artistic Career
Fame!
180 minutes
240 minutes
300 minutes
Prior Knowledge Required
The student will:
• be able to explain how an artist has used the expressive qualities of the elements and principles of
design to affect the viewer and support their analysis with evidence from the work. Refer to The
Ontario Curriculum, Grades 1-8, The Arts, page 44, for Grade 8 Visual Arts Expectations;
• be able to explain, through critical analysis, the function (e.g., political, religious, social) of their own
artworks and those of other cultures and will demonstrate an understanding of connections between
art and cultural identity or context. Refer to The Ontario Curriculum, Grade 9, Open, Visual Arts,
page 51;
• be familiar with various historical periods in art, the kinds of training that artists might receive and
the kinds of tools that they may have used. Refer to this profile, Unit 1: But Is It Art?
Unit Planning Notes
The teacher will:
• have student artists continue to use their drawing journals and their art portfolios as a point of
reference;
• provide booklets and class charts compiled in Unit 1 and developed throughout the course; these will
become the initial point of reference;
• provide the students with as much access as is possible to the following reference materials: posters,
art appreciation card files, art texts, slides, filmstrips, videos, CD-ROMs, and Internet.
Unit 6 - Page 1
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Teaching/Learning Strategies
Strategies include brainstorming, conferencing, independent research, exploration, critical analysis of
self/peers, independent and group work.
Assessment and Evaluation
•
•
•
Students are assessed through the drawing journal, self-/peer assessments, student/teacher
conferences and ongoing verbal feedback.
Assessment tools include checklists, marking schemes, rubrics, anecdotal comments.
Students are evaluated on self/peer rubric, formal presentation and final, studio presentation.
Resources
Books
Frayling, Christopher and Helen. The Art Pack. Toronto: Random House Inc., 1992.
ISBN 0-679-41419-3
Hume, Helen. A Survival Kit For the Secondary School Art Teacher. West Nyack, NY: The Center for
Applied Research in Education, 1990. ISBN 0-87628-798-4
Mittler, Gene. Art in Focus. Mission Hills, California: Glencoe Publishing, 1969. ISBN 0-02-662271-8
Mittler, Gene. Understanding Art. Mission Hills, California: Glencoe Publishing, 1992.
ISBN 0-02-662286-6
Ragans, Rosalind. ARTALK. Westerville, Ohio: Glencoe Publishing, 1995. ISBN 0-02-640295-5
Time Life Library of Art. New York: Time Life Books, 1966. ISBN 66-16540
CD-ROMs
Arts In The Classroom, A Teacher’s CD-ROM Resource. Toronto: TCDSB/CCC, 1998.
Web Sites
www.artednet.getty.edu
Activity 1: Creative Careers!
Time: 180 minutes
Description
Through an examination of their art portfolios, drawing journals and visual resources created in Unit 1,
the student artists develop a proposal based on a specific career in art. The career selected could range
anywhere from the traditional roles of the past, such as that of painter, sculptor, or printmaker to
contemporary roles of the artist as animator, videographer, or filmmaker. In making their selections,
student artists will come to realize that “making a living” means more than simple remuneration for work
done. They will see that it is important to do one’s best, to see the good in others, and to make a
contribution to the society in which one lives.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE1g - understands that one's purpose or call in life comes from God and strives to discern and live out
this call throughout life's journey;
CGE2c - presents information and ideas clearly and honestly and with sensitivity to others;
CGE4f - applies effective communication, decision-making, problem-solving, time and resource
management skills;
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CGE4g - examines and reflects on one’s personal values, abilities, and aspirations influencing life's
choices and opportunities;
CGE5b - thinks critically about the meaning and purpose of work;
CGE5d - finds meaning, dignity, fulfillment, and vocation in work which contributes to the common
good;
CGE7j - contributes to the common good.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.04 - identifies the skills required in various visual arts and art-related careers;
CRV.01 - produces a work designed around specific objectives and challenges;
CRV.04 - uses concepts of visual literacy in describing art activities;
ANV.01 - applies critical analysis processes to their artwork and works studied;
ANV.03 - describes interrelationships among art, the consumer and the community.
Specific Expectations
TH1.02 - describes the steps of the design process;
TH2.01 - describes the characteristics of a historical stylistic movement in Canadian art;
TH2.02 - demonstrates an understanding of a mid-segment of the Western art history timeline;
TH3.03 - researches the history of an art form, craft, or area of design;
TH3.04 - describes similarities and differences between careers in design and fine art;
CR1.03 - uses research from various sources;
AN1.01 - describes the stages of the design process followed in a particular assignment;
AN2.03 - describes how a culture shapes its art with reference to historical and contemporary examples.
Planning Notes
The teacher will:
• provide student artists with drawing journals, art portfolios and concertina booklets, begun in Unit 1;
• provide students with access to as much of the following as is possible: posters, art appreciation card
files, media charts, art texts, slides, filmstrips, videos, CD-ROMs, and the Internet.
Prior Knowledge Required
Students will be able to identify skills associated with careers in design and fine art and be able to use
research from various sources as part of the creative process.
Teaching/Learning Strategies
1. The teacher will:
• review a selection of the possible careers in art that were explored during the previous five units
by using slides, posters, and other visual references. These careers might deal with the very idea
of “artist” and how this has changed according to the time, place, and culture in which the artist
has earned a living. Issues such as “vocation” are discussed, and how the artist might see himself
or herself as not merely “earning a living” but in making a positive contribution to society (see
Appendix VI, 1a – Careers in Art).
2. The student will:
• work in groups to review the contents of their drawing journals, art portfolios, and concertina
booklets from Unit 1 in order to generate two lists – careers that were present and viable in the
past and those that have become part of the twentieth and twenty-first centuries. The list of
“traditional” careers might include, for example:
− an early Christian artist or artisan from the fourth, fifth, or sixth century;
− a manuscript illuminator from the ninth century;
− a skilled tradesman or artisan from twelfth century France;
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− a fifteenth-century painter, sculptor, or architect;
− a Dutch, seventeenth-century printmaker;
− an eighteenth-century English landscape painter;
− a nineteenth-century Canadian genre painter;
− a twentieth-century Inuit artist;
• The list of art careers of the twentieth and twenty-first centuries may include:
− an artist for an advertising firm about to launch a campaign for a new product;
− a graphic designer employed by a movie network or publishing house;
− a specialist in the area of computer graphics;
− a photojournalist for a newspaper or magazine;
− an arts administrator in a museum or theatre;
− a corporate art advisor to a large company;
− a fashion designer;
− an architect – commissioned to design a modern place of worship;
− a landscape architect;
− an interior designer – commissioned to design an ideal classroom for Visual Arts;
− an industrial designer;
− an arts educator;
− an archaeologist;
− an art therapist;
− a curator of a local museum;
− a cartoonist or animator;
− a special effects designer for a major movie;
− a filmmaker.
3. The teacher will:
• provide each student artist with a Career Proposal Sheet (see Appendix VI, 1b – Career Proposal)
to be completed by the student and approved by the teacher. This permits students to place
themselves into their selected career and to articulate their approach to the culture in which they
live, the training required for their job, the place where they might work and the tools that they
will use. Students will also need to consider the kinds of recognition that may be received for
their work (e.g., promotion and/or payment), and the contribution that they might make to the
society in which they live.
4. Working in small groups (to be determined by their identified career) the student artists share their
research information.
5. Student artists place their career proposals in their portfolios to serve as a reference.
Assessment/Evaluation Techniques
• THV.04, TH3.03, 04, CRV.04, ANV.03 – Career Proposal, assessed by the teacher, for a definite
career selection, evidence of research and application of the creative process
• TH1.02, ANV.01 – roving conference during group activity
• CR1.03, CR2.01 – correct filing and use of their career proposal during the remainder of this unit
Accommodations
• It might be advisable, in some classes, for students to devise and create a group proposal. The
research and study of a particular career or careers would be an entirely co-operative endeavour.
• Enrichment level students might find opportunities to “job shadow.”
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Resources
Books
Frayling, Christopher and Helen. The Art Pack. Toronto: Random House Inc., 1992.
ISBN 0-679-41419-3
Mittler, Gene. Art in Focus. Mission Hills, California: Glencoe Publishing, 1969. ISBN 0-02-662271-8
Mittler, Gene. Understanding Art. Mission Hills, California: Glencoe Publishing, 1992.
ISBN 0-02-662286-6
Ragans, Rosalind. ArtTalk. Westerville, Ohio: Glencoe Publishing, 1995. ISBN 0-02-640295-5
Time Life Library of Art. New York: Time Life Books, 1966. ISBN 66-16540
CD-ROMs
Arts In The Classroom, A Teacher’s CD-ROM Resource. Toronto: TCDSB/CCC, 1998.
Web Sites
www.artednet.getty.edu
Appendices
Appendix VI, 1a – Careers in Art
Appendix, VI, 1b – Career Proposal
Activity 2: Drawing on an Artistic Career
Time: 240 minutes
Description
Student artists begin to explore the possibilities for their final work that represents a studio aspect from a
selected art related career. They will begin with a series of compositional drawings and other research
based sketches in the drawing journal. Opportunities are provided to solve any anticipated compositional
problems and to explore technique and media associated with their living as an artist.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE1g - understands that one's purpose or call in life comes from God and strives to discern and live out
this call throughout life's journey;
CGE2c - presents information and ideas clearly and honestly and with sensitivity to others;
CGE4f, 4f - applies effective communication, decision-making, problem-solving, time and resource
management skills;
CGE4g - examines and reflects on one's personal values, abilities, and aspirations influencing life's
choices and opportunities;
CGE5b - thinks critically about the meaning and purpose of work;
CGE5d - finds meaning, dignity, fulfillment, and vocation in work which contributes to the common
good;
CGE7j - contributes to the common good.
Strand(s): Theory, Creation, Analysis
Unit 6 - Page 5
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Overall Expectations
THV.04 - identifies the skills required in various visual arts and art-related careers;
CRV.01 - produces a work designed around specific objectives and challenges;
CRV.04 - uses concepts of visual literacy in describing art activities;
ANV.01 - applies critical analysis processes their artwork and works studied;
ANV.03 - describes interrelationships among art, the consumer and the community.
Specific Expectations
TH1.02 - describes the steps of the design process;
TH2.01 - describes the characteristics of a historical stylistic movement in Canadian art;
TH2.02 - demonstrates an understanding of a mid-segment of the Western art history timeline;
TH3.03 - researches the history of an art form, craft or area of design;
TH3.04 - describes similarities and differences between careers in design and fine art;
CR1.03 - uses research from various sources;
AN1.01 - describes the stages of the design process followed in a particular assignment;
AN2.03 - describes how a culture shapes its art with reference to historical and contemporary examples.
Planning Notes
The teacher will:
• provide student artists with drawing journals, art portfolios and concertina booklets, begun in Unit 1;
• provide students with access to as much of the following as possible: posters, art appreciation card
files, media charts, art texts, slides, filmstrips, videos, CD-ROMs, and the Internet.
Prior Knowledge Required
Students will be able to use research from various sources as part of the creative process and develop
sketchbooks, portfolios, and/or planners to document their personal art process.
Planning Notes
The teacher will:
• provide students with drawing journals, art portfolios and possibly their concertina booklets from
Unit 1;
• provide students with a wide range of drawing materials such as conte, markers, graphite pencils,
pens, crayons, etc.
Teaching/Learning Strategies
1. The teacher reviews with students:
• the importance of using one's talents in order to make a positive contribution to society (see
Appendix VI, 1a – Careers in Art);
• the rational for drawing with a purpose and the various types of drawing that might be employed,
including spontaneous, gesture, various contour drawings, research drawings, experimental
drawings, imaginative preliminary and sustained drawings.
2. The student artists:
• return to their career proposals and complete several thumbnail sketches for a small sample of a
final work to represent their career, based on observations that they have made on their proposals
and having looked at works of art created by an individual in that career;
• complete at least two larger drawings that might best represent their career (e.g., two different
gesture drawings if the final work is to involve figures or two preliminary drawings of a poster
design, or two varying sets of fashions, etc.);
• work with a partner to select the best approach for their final project;
Unit 6 - Page 6
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•
complete one final, sustained drawing that gives clear information on how the final work of art
will be composed.
3. Students reflect on this activity in their drawing journals in order to establish:
• the visual images or examples that will be included in their final presentation;
• the nature of their culminating work;
• the effectiveness with which they have communicated a clear idea;
• the quality of the idea expressed (i.e., Is it a positive message?).
4. Students file the sustained drawing in their portfolios and complete their log sheets.
Assessment/Evaluation Techniques
• THV.04, TH3.02, 03, CRV.04 – ongoing teacher assessment through question and answer in order to
evaluate the understanding of basic skills and concepts, literacy in art and analysis
• CRV.01, CR1.03, ANV.03 – individual student artwork in drawing journal and portfolio for an
understanding of how to apply drawing skills, critical analysis and effective use of design
• ANV.01, AN2.03 – portfolio log and drawing journal entries for ongoing review of evaluation
processes and artwork
Accommodations
• Special needs students might be provided with additional visual stimuli for their drawings and
complete types of drawings that are pre-selected by the teacher (e.g., contour drawings only).
• Enrichment students might job shadow for this activity and report back on their findings.
• Enrichment students might take a current career in art, with examples, and determine images that will
be more representative of that career, fifty years from now.
Resources
Books
Frayling, Christopher and Helen. The Art Pack. Toronto: Random House Inc., 1992.
ISBN 0-679-41419-3
Hume, Helen. A Survival Kit for the Secondary School Art Teacher. West Nyack, NY: The Center for
Applied Research in Education, 1990. ISBN 0-87628-798-4
Mittler, Gene. Art in Focus. Mission Hills, California: Glencoe Publishing, 1969. ISBN 0-02-662271-8
Mittler, Gene. Understanding Art. Mission Hills, California: Glencoe Publishing, 1992.
ISBN 0-02-662286-6
Ragans, Rosalind. ArtTalk. Westerville, Ohio: Glencoe Publishing, 1995. ISBN 0-02-640295-5
Time Life Library of Art. New York: Time Life Books, 1966. ISBN 66-16540
CD-ROMs
Arts In The Classroom, A Teacher’s CD-ROM Resource. Toronto: TCDSB/CCC, 1998.
Web Sites
www.artednet.getty.edu
Appendices
Portfolio Log
Reference File/Personal Entry File
Appendix VI, 1 b: Career Proposal
Unit 6 - Page 7
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Activity 3: Fame!
Time: 300 minutes
Description
Student artists proceed with their final work of art, taking care to ensure that the composition reflects
their chosen career. Constant reference is made to drawing journal entries, portfolio work, and the Career
Proposal Sheet in order to articulate the final presentation and gallery exhibit.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations:
CGE1g - understands that one's purpose or call in life comes from God and strives to discern and live out
this call throughout life’s journey;
CGE2c - presents information and ideas clearly and honestly and with sensitivity to others;
CGE4f - applies effective communication, decision-making, problem-solving, time and resource
management skills;
CGE4g - examines and reflects on one’s personal values, abilities, and aspirations influencing life’s
choices and opportunities;
CGE5b - thinks critically about the meaning and purpose of work;
CGE5d - finds meaning, dignity, fulfillment, and vocation in work which contributes to the common
good;
CGE7j - contributes to the common good.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.04 - identifies the skills required in various visual arts and art-related careers;
CRV.01 - produces a work designed around specific objectives and challenges;
CRV.04 - uses concepts of visual literacy in describing art activities;
ANV.01 - applies critical analysis processes to their artwork and works studied;
ANV.03 - describes interrelationships among art, the consumer and the community.
Specific Expectations
TH1.02 - describes the steps of the design process;
TH2.01 - describes the characteristics of a historical stylistic movement in Canadian art;
TH2.02 - demonstrates an understanding of a mid-segment of the Western art history timeline;
TH3.03 - researches the history of an art form, craft or area of design;
TH3.04 - describes similarities and differences between careers in design and fine art;
CR1.03 - uses research from various sources;
AN1.01 - describes the stages of the design process followed in a particular assignment;
AN2.03 - describes how a culture shapes its art with reference to historical and contemporary examples.
Planning Notes
• In their career proposals, students have indicated the kinds of materials that are necessary for the
success of the final project.
The teacher will:
• ensure that these materials, or reasonable substitutes are available.
• pre-determine a set of materials;
• pre-determine a set time and location for the Gallery Exhibit of student works (e.g., classroom,
school cafeteria, auditorium, other).
Unit 6 - Page 8
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Teaching/Learning Strategies
1. The teacher reviews the need for each student artist to refer to their drawing journals, portfolios,
career proposals and other visual references.
2. The student artists complete their final project in their selected medium.
3. The teacher provides a time and place for the student artists to display the following:
• their career proposals, giving the artist's historical period, training, place of work, tools used,
manner by which the artist achieves recognition or payment and possibilities for a positive and
meaningful contribution to the society in which they live. The teacher might have students
transform this information into another concertina booklet, chart, or other type of visual display;
• drawing journal and portfolio references that show the evolution of the concept for the final
work;
• the final project.
4. The gallery exhibit could be arranged for an evening, open to the public, and with the presence of the
student artists to speak about the possibilities for various careers in the arts.
5. Students complete the evening by:
• writing a critique on one of the works viewed in the gallery (not on their own work), reflecting
on the kind of contribution that such an artist might make to the world in which they live;
• completing a self-evaluation on the entire project.
Assessment/Evaluation Techniques
• TH3.02 – ongoing teacher evaluation through question and answer
• THV.04, TH3.01, CRV.02, CRV.04, CR2.02, ANV.03, AN2.03 – teacher evaluation of Career
Proposal sheet (or creative interpretation of it), drawing journal entries, portfolio log, written work,
final project
• CR3.03 – student/peer evaluations
• AN1.01 – student self-evaluation
Accommodations
• Special needs students might need additional assistance from adults or peers in order to manipulate
some of the materials necessary for a final project.
• Enrichment students might organize the entire gallery evening, complete with invitations, matting for
art works, if necessary, and physical arrangements.
Resources
Books
Frayling, Christopher and Helen. The Art Pack. Toronto: Random House Inc., 1992.
ISBN 0-679-41419-3
Hume, Helen. A Survival Kit for the Secondary School Art Teacher. West Nyack, NY: The Center for
Applied Research in Education, 1990. ISBN 0-87628-798-4
Mittler, Gene. Art in Focus. Mission Hills, California: Glencoe Publishing, 1969. ISBN 0-02-662271-8
Mittler, Gene. Understanding Art. Mission Hills, California: Glencoe Publishing, 1992.
ISBN 0-02-662286-6
Ragans, Rosalind. ArtTalk. Westerville, Ohio: Glencoe Publishing, 1995. ISBN 0-02-640295-5
Time Life Library of Art. New York: Time Life Books, 1966. ISBN 66-16540
CD-ROMs
Arts In The Classroom, A Teacher’s CD-ROM Resource. Toronto: TCDSB/CCC, 1998
Web Sites
www.artednet.getty.edu
Unit 6 - Page 9
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Appendices
Art Criticism and Peer Assessment
Portfolio Log
Self-Evaluation, Rubric
Teacher Rubric
Appendix VI, 1b – Career Proposal
Unit 6 - Page 10
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Appendix VI, 1a
Careers in Art
The word “art,” in its Latin form, means “skill.”
The words “artist” and “artisan” were identical concepts in fourteenth century Europe.
As the result of developments during the Renaissance, the term “artist” came to be separated from
“artisan” and the artist became associated with a specialized range of skills.
Today, we understand that art gives us:
• an appreciation of the world around us;
• self-confidence, self-knowledge, and individual responsibility;
• an increasing understanding and enjoyment of leisure activities;
• the ability to become selective consumers;
• problem-solving skills;
• ability to articulate our ideas in new and innovative ways;
• new and exciting careers.
Art Related Careers
Antique Restorer, Architect, Animator, Artist’s Agent, Art Consultant, Art Editor,
Art Designer, Art Director, Art Publisher, Art Salesman, Visual Art Teacher, Art Therapist,
Cabinet maker, Calligrapher, Caricaturist, Ceramicist, Choreographer, Cinematographer,
Combat Artist, Commercial Photographer, Communications Specialist, Colour Consultant,
Costume Designer, Crafts Counsellor, Curator, Design Consultant, Publicity Director,
Design Engineer, Designer in Glass, Display Artist, Dressmaker, Draftsman,
Exhibition Designer, Fabric Designer, Fashion Designer, Fashion Photographer,
Field Exhibition Artist, Film Editor, Film Maker, Foundry Artist, Functional Designer,
Furniture Designer, Gallery Director, Gallery Educator, Graphic Designer, Greeting Card Designer,
Hair Stylist, Illustrator, Industrial Designer, Industrial Photographer, Interior Designer,
Jeweller, Jewellery Designer, Landscape Artist, Layout Artist, Leather Craftsman,
Letterer, Lighting Consultant, Lithographer, Makeup Artist, Marine Illustrator,
Market Illustrator, Media Specialist, Medical Illustrator, Metal Worker, Model Maker,
Mock-up artist, Muralist, Museum Educator, Package Designer, Painter, Paste-up Artist,
Photographer, Photographic Editor, Photo Retoucher, Political Cartoonist
Printmaker, Printer, Publicity Director, Researcher, Restorer, Scenic Designer,
Scientific Photographer, Sculptor, Serigrapher, Set Designer, Sign Painter, Special Effects Designer
Stained Glass Designer, Stylist, Technical Illustrator, Technological Designer, Textbook Illustrator,
Textile Designer, Television Designer, Television Animator, TV Background Artist,
Television Director, Upholsterer, Visual Aids Artist, Weaver, Window Decorator, Woodcarver
Unit 6 - Page 11
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Appendix VI, 1b
Career Proposal
Name: (Name of the artist selected, can be a “created” name):
Career:
Vital statistics (e.g., date and place of birth, travels, etc.):
Time and Place of work:
Training required for this career:
Means by which the artist might achieve recognition (promotion, additional work):
Means by which the artist makes a living (including salary):
Means by which the artist contributes to the society in which he/she lives and works: (e.g., How through
this vocation might I make the world a better place?)
Unit 6 - Page 12
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Appendix VI, 3
We're made so that we love
First when we see them painted, things we have passed
Perhaps a hundred times nor cared to see;
And so they are better painted - better to us,
Which is the same thing. Art was given for that God uses to help each other so,
Lending our minds out…
This world’s no blot for us,
Nor blank - it means intensely, and means good:
To find its meaning is my meat and drink.
By Robert Browning “Fra Lippo Lippi”
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