Course Profile Visual Arts, Grade 10, Open, Catholic

Unit 2: Art by Design

Time: 20 hours

Activity 1 | Activity 2 | Activity 3 | Activity 4 | Activity 5

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 three- dimensional 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	Design Is Everybody’s Business	150 minutes
Activity 2	Positive and Negative: Design by Nature	200 minutes
Activity 3	What’s in a Name?	250 minutes
Activity 4	Sell Me Something	300 minutes
Activity 5	Containers, Bags, and Boxes	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 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

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, 2^nd ed. New York: Glencoe McGraw-Hill, 1995. ISBN 0-02-640295-5

Reid, Denis. A Concise History of Canadian Painting, 2^nd 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

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.

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., Toulouse-Lautrec’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.

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, 2^nd ed. New York: Glencoe McGraw-Hill, 1995. ISBN 0-02-640295-5

Reid, Denis. A Concise History of Canadian Painting, 2^nd 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

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

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;

· 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, 2^nd 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

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.

· 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;

· 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. 2^nd 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

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);

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

· 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

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. 2^nd 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

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 three-dimensional 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);