Course Profile Visual Arts, Grade 10,
Open, Public
Unit 1: The Artist’s Point of View: How Creation Happens
Activity 1 | Activity
2 | Activity 3 | Activity 4
Unit Developers: Susan Jones, Rhonda Johnson, Susan Pidlubny, Teresa Reeves, Cyrel Troster, Alan Wilkinson
Development Date: October 1999 and March 2000
This is the first of five units for the Grade 10 course of study. The central theme for the Grade 10 course is the student as an inquiring artist. The teacher, as a facilitator, directs students to question how they create. As an inquiring artist, the student gains an understanding of the creative process. The three essential questions in this unit are linked to the strands in The Ontario Curriculum, Grades 9 and 10, The Arts, 1999. These questions will help the students find and develop creative ideas, reflect on where original ideas come from, and explore how ideas are developed and improved.
This profile provides a variety of strategies for students to investigate creative theory. Through guided discovery and activities, teachers direct students to explore a variety of media. Students use drawing techniques, a review of the elements and principles of design, and activities that foster the creative process.
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Where does the inquiring artist find ideas? |
Theory |
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How does the artist create? |
Creation |
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How does the artist develop and improve? |
Analysis |
Strand(s): Theory, Creation, Analysis
THV.01 - demonstrate an understanding of the design process;
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;
ANV.01 - apply critical analysis processes to their artwork and works studied;
ANV.02 - identify sensory, formal, expressive, and technical qualities in their own words and works.
TH1.02 - explain how compositions are altered by a change in design principles (e.g., contrast of lines versus contrast of colour);
TH3.01 - explain how they have incorporated into their studio assignments characteristic materials and expressive qualities of artworks studied;
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, data bases, conversations with local artists) as part of the creative process;
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;
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;
AN1.01 - describe the stages of the design process followed in a particular assignment;
AN2.01 - analysis the formal composition of an example of art work from personal and and/or historical works studied;
AN2.02 - demonstrate an understanding of the use of symbols in creative expression.
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Activity 1 |
Introduction to the Grade 10 Course |
120 minutes |
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Activity 2 |
Creative Theory |
120 minutes |
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Activity 3 |
Transformation |
120 minutes |
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Activity 4 |
Back to the Drawing Board |
720 minutes |
· Post the three essential questions in a prominent place in the classroom so teachers can easily address these questions throughout the unit.
· The co-operative group activities in this unit help establish a positive classroom environment. Resources suggested in this unit assist teachers in the initial planning of group activities.
· The resource journal should be used as an important visual, thinking, planning, and drawing component of this course, and is a resource that will continue to be important throughout the student’s secondary school experiences.
· Teachers make a variety of quality materials available: heavy stock paper, drawing pencils, pencil crayons, oil and chalk pastels, conte crayons, and tracing paper.
· Students are not required to complete Grade 9 Visual Arts as a prerequisite for Grade 10 Visual Arts. They should have prior learning from the expectations listed in The Ontario Curriculum, Grades 1-8, The Arts, 1998 (from The Ontario Curriculum, Grades 1-8, The Arts, 1998).
Time: 120 minutes
The purpose of these activities is to provide students with a course outline, establish a positive classroom environment, and allow the teacher to become familiar with the students’ artistic interests and abilities. Students are introduced to the content, structure, assessment and evaluation of the course. The course evaluation consists of 70% term work and 30% summative evaluation. Appendices are included to facilitate the communication of this important information. Students will participate in short interactive activities over a two-hour time period. Portfolios and resource journals will be introduced. Students will complete a studio activity in which they create a monogram design on their portfolio and resource journal.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.01 - demonstrate an understanding of the design process;
CRV.01 - produce a work designed around specific objectives and challenges (e.g., composition issues, subject matter, use of visual language);
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
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;
CR3.02 - develop sketchbooks, a portfolio, and/or planners that document their personal art process.
· The teacher uses these short activities as an introduction to the entire course: content, assessment, evaluation, classroom and behavioural expectations, and health and safety issues.
· These activities offer teachers an opportunity to assess student entry-level characteristics, and make appropriate program decisions.
· Teachers need to prepare handouts in advance and make appropriate materials available for student use.
· Teachers adjust some strategies in order to accommodate a variety of learning styles
· See Unit Overview.
1. Suggested Preparatory Activities. The teacher places a numbered card at each seat prior to the students’ entering the room. The teacher prepares a corresponding set of numbered cards and places them in a container. As students arrive they pull a numbered card from the container and sit in the corresponding seat. This establishes a seating plan and allows the teacher to greet all students as they enter the classroom for the first time. The teacher establishes a positive classroom environment through a number of co-operative activities. An essential part of class building is the process of having students get to know each other and to feel comfortable in their classroom environment. Getting-to-know-you activities should take five to ten minutes each. The teacher introduces students to the course content, structure, assessment and evaluation for the course. The course outline should provide a course description including the units of study and evaluation categories: knowledge/understanding, thinking/inquiry, communication, creation/application. The term work is weighted at 70% and the summative evaluation is weighted at 30%. This should be communicated clearly to students in the course outline. An explanation of the resource journal and portfolios is given. The teacher explains the class routines and safety procedures for the classroom. Expectations about materials can also be included on the course outline. See Appendix BB.
2. The Assignment: Monogrammed Portfolio and Resource Journal. Students create a monogram of their first and last initials to identify their portfolio folder and their resource journal. Students in each section of Grade 10 art make their monogram to fit a specific geometric shape that is unique to that section. For example, one Grade 10 section might create a monogram within a circle whereas another section might use a square. This will permit both the teacher and the student to easily distinguish one class from another. This geometric design requirement encourages students to solve design challenges. Students create three preparatory sketches in which the letters touch the edges of the shape, and make effective use of the total area of the shape. In pairs students help each other choose their strongest monogram design or suggest improvements where appropriate. This activity should be structured in order that students are required to identify three areas of strength and one area for improvement in the chosen design. This activity relates to the essential question “How does the artist develop and improve?” Students complete a finished version of their monogram. They may complete this final version directly on the portfolio material itself, or on separate paper stock to be attached to the portfolio as directed by the teacher. Students complete a second version of their monogram for their resource journal. This second version may be smaller than the first as appropriate to the size of the resource journal. The smaller monogram functions as part of the name label for the resource journal. See Appendix CC for the assignment outline and assessment.
· Additional time may be provided to complete tasks.
· Buddy up a stronger student with one who could use encouragement and support.
· See Appendix B.
· See Appendix CC.
· Only water-based markers should be used.
Maris Dantzic, Cynthia. Design Dimensions: An Introduction To the Visual Surface. New Jersey: Prentice-Hall, 1990. ISBN 0-13-199985-0.
Ragans, Mittler. Exploring Art. USA: Glencoe, 1992. ISBN 0-02-662281-5.
Ragans, Rosalind. Arttalk. USA: Glencoe/McGraw-Hill. 1995. ISBN 0-02-640295-5.
Roukes, Nicholas. Art Synectics. Worchester, MA: Davis Publications, 1982. ISBN 0-87192-151-0.
Roukes, Nicholas. Design Synectics: Stimulating Creativity in Design. Worchester, MA: Davis Publications, 1988. P.52 ISBN 0-87192-198-7.
Wilton Art Appreciation Program: Series
100 CD-ROMs – Elements of Art.
Time: 120 minutes
In this activity students become familiar with terms related to creativity, participate in a co-operative activity that enhances creative thinking, and create an artwork that challenges individual creative thinking. The co-operative component of these activities continues to foster a positive classroom environment. The studio project is assessed by peers and comments recorded in their resource journal.
Strand(s): Theory, Creation, Analysis
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.
Specific Expectations
CR1.02 - use tools, materials, processes, and technologies safely and appropriately;
CR2.01 - demonstrate the ability to use an increasing range of tools, materials, processes, and technologies in producing works of fine art and applied design;
CR3.02 - develop sketchbooks, a portfolio, and/or planers that document their personal process;
CR3.03 - demonstrate the ability to review and evaluate the creative processes they use.
· Teachers can reference Spencer Kagan’s Co-operative Learning for thinking skills activities.
· Art Synectics and Design Synectics by Nicholas Roukes are also good resources for developing activities around creative theory.
· The following is a list of terms that are useful when considering creativity:
· Fluency (how many ideas you can come up with)
· Flexibility (how many different kinds of ideas you can come up with)
· Originality (are your ideas your own, or borrowed)
· Elaboration (how detailed are your ideas)
· See Unit Overview
1. Students are organized into co-operative groups of three or five. Each group is given an identical envelope or bag of small items. Items in each bag could include a combination of the following: paper clips, elastic bands, styrofoam cups, tongue depressor sticks, brass fasteners, length of string, tape, paint brush, or straw. Each envelope or bag contains the same items.
2. Each group of students is asked to exercise their creative problem-solving abilities to create a functional or fantasy kitchen utensil using each of the items found in the bag. Teachers should stress that in this activity all ideas are valid and no negative critical comments are allowed. Students have a fifteen-minute time limit. Items may be altered to create the utensil, however, no additional materials can be added, and no scissors or glue can be used. One group member will be randomly chosen to explain to the class how their object functions and why someone should buy it.
3. Halfway through this activity, each group appoints a scout who has thirty seconds to visit other groups and report back to their home group. Teachers can time this activity.
4. At the end of this activity the teacher guides students through the vocabulary related to creativity found on p. 60 of The Ontario Curriculum, Grades 9 and 10, The Arts, 1999 and in Planning Notes. The teacher writes the definitions on chart paper and displays them in the classroom. Have students record this vocabulary in the resource journals.
5. Teachers select at least two creative thinking exercises or activities for students. Robin Landa’s book, Thinking Creatively, offers a number of these exercises such as “Doing the Unexpected - Alter a well-known symbol such as a flag, a commercial logo, or an emblem to modify its meaning (e.g., alter a royal crown to symbolize loss of power). Change the Scale – Take something we usually see as small and make it big (or vise-versa). Alter Something Familiar – Change the meaning of a familiar object by adding to or subtracting from it in some unusual way. (e.g., add nails to a blown-up balloon).”
6. After completing these creative problem-solving activities, students share their solutions with a peer. Peer evaluation is based on the student’s ability to demonstrate fluency, flexibility, elaboration, and originality.
7. Subsequently, each student responds to the comments provided by their peer in their resource journals. These activities relate to the essential question “How does the artist develop and improve?”
· Teachers may wish to create co-operative groups where peer helpers are available to assist those students with specific learning disabilities.
· Language expectations for Resource Journal entries may modified for those students with language deficits.
· Additional time may be provided to complete written tasks.
· A note taker may be provided to complete written tasks.
· See Appendix B
· Students assess their peers using verbal feedback. Students respond to the comments in their resource journal. A modified version of Appendix DD might serve as guide for developing a rubric.
· No anticipated issues
Kagan, Spenser. Cooperative
Learning. California: Kagan Cooperative Learning, 1993.
ISBN 1-879097-10-9
Roukes, Nicholas. Art Synectics. Massachusetts: Davis Publications, 1984. ISBN 0-87192-151-0
Roukes, Nicholas. Design
Synectics. Massachusetts: Davis Publications, 1988.
ISBN 87192-198-7
Wilton Art Appreciation Program: Series
100 CD-ROMs – Artists at Work
Time: 120 minutes
In this activity students have an opportunity to explore creativity through the interpretation of music. Students create two images inspired by contrasting pieces of music. They examine the way some artists use music as a source of inspiration for their work. The essential question, “Where does the inquiring artist find ideas?” is addressed.
Strand(s): Theory, Creation, Analysis
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;
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 others works.
Specific Expectations
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, data bases, conversations with local artists) as part of the creative process;
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.
· Teachers arrange to have a tape or CD player available for this activity.
· Teachers carefully select the music for this activity in advance. Look for two contrasting types of music. Suggestions might include The Finale of Symphony No. 3, by Saint Saens and Debussey’s La Mer. Teachers explore available repertoires of instrumental music in order to find the most suitable contrasting selections.
· Teachers may wish to review some of the shared terminology of art and music such as rhythm and tone, etc.
· See Unit Overview
· Some prior knowledge of music will be helpful.
1. Students use two strips of white cartridge paper (15 cm by 60 cm) and draw a 2.5 cm margin on all four sides that results in a 10 cm by 55 cm image area on each piece.
2. Students listen to two contrasting pieces of music, three to five minutes in length, and respond on separate sheets of paper. Using oil pastels or markers students respond visually to the music that they hear, noting rhythms, tonal changes, colour, texture, pattern, complexity, pitch, and harmony. Allow students a few minutes at the end of the music to complete their compositions.
3. Student responses are posted and the class discusses the interpretations.
4. The teacher then shows students artworks done by artists who were inspired by a variety of sources. Teachers provide sources from a variety of cultures. The following is a list of possible artists and their works which will act a starting point:
· Piet Mondrian, Broadway Boogie Woogie, 1942-43
· Wassily Kandinsky, Improvisation 28, 1911
· Bertram Brooker, Sounds Assembling, 1928
· Romare Beardon, Visual Jazz VHS Video – Collage Work, Family, 1967
· Jack Bush, Harmonies Series
The teacher connects these artworks to the activity that the students have just completed, and discusses how music was integral to the creation of these works. For example, when discussing Kandinsky’s work, the teacher draws attention to the fact that he believed music was the best source for creativity. Other artists in other cultures and contexts have used music as a source for inspiration as well. Information about Kandinsky and the artists examined can be found in the Resources.
5. Teachers may wish to have students begin a list of inspirational sources in their resource journals. Students are to create three “Look Pages”. These pages contain images and other sources which provide creative inspiration for the student. The Look Pages can contain such things as images, information from the Internet, textures, souvenirs from trips, interesting gifts, labels, tickets, gift wrap paper. This activity begins to address, however cannot fully answer, the essential question, “Where does the inquiring artist find ideas?”
· Students with hearing impairments could be given an alternate assignment more reliant on visual or tactile stimulation.
· See Appendix B.
· Peer discussion
· Pastels should be wrapped with paper towel for students with skin allergies.
· Only water-based markers should be used.
Reid, Dennis. A Concise History of Canadian Painting, 2nd Edition. Toronto: Oxford University Press, 1988. ISBN 0-19-540664-8
Brommer, Gerald F. Discovering Art History, 3rd Edition. Massachusetts: David Publications, 1997. ISBN 87192-299-1
Elsen, Albert E. Purposes of Art. New York: Holt, Hartcourt, Brace and Co., 1981. ISBN 0-03-049766-3
Roukes, Nicholas. Art Synectics. Massachusetts: Davis Publications, 1984. ISBN 0-87192-151-0
Roukes, Nicholas. Design Synectics. Massachusetts: Davis Publications, 1988. ISBN 87192-198-7
Wilton Art Appreciation Program: Series 100 CD-ROMs – Elements of Art.
Time: 720 minutes
Having explored the potential of line to express or interpret an experience or create a personal visual symbol in the previous activities, students are given opportunities to discover through studio experiences that the creation of art is also often dependent on learning to observe and record carefully. These technical skills serve to help them realize their creative ideas. The drawing exercises in this activity helps students develop their observational drawing skills using line, shape, and value. The concluding studio project adds the dimension of creativity. This final studio project challenges the students to use both their technical skills and creative ideas.
Strand(s): Theory, Creation, Analysis
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.
Specific Expectations
TH1.02 - explain how compositions are altered by a change in design principles (e.g., contrast of lines versus contrast of colour);
TH3.01 - explain how they have incorporated into their studio assignments characteristic materials and expressive qualities of artworks studied;
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;
AN1.01 - describe the stages of the design process followed in a particular assignment;
AN2.01 - analyse the formal composition of an example of art work from personal and/or historical works studied;
AN2.02 - demonstrate an understanding of the use of symbols in creative expression.
· Teachers may wish to review Betty Edwards’ book, Drawing on the Right Side of the Brain.
· Teachers review contour drawing techniques and value scales.
· The following materials should be provided: newsprint, markers, cartridge paper, and drawing pencils (2B to 6B).
· Provide samples of various drawing techniques for display.
· The teacher may wish to create a number of still-life compositions using a variety of available objects which may include: old shoes, tools, bones, bottles, driftwood, musical instruments, gourds, dried plants and flowers, hats, etc. Students should be encouraged to contribute objects of meaning to them to these arrangements. Still-life compositions may have to be portable to accommodate other classes. Controlled lighting source is optional but helpful.
· See Unit Overview
a) The Artist Goes Back to the Drawing Board
1. Teach contour drawing techniques. See Appendix EE for contour drawing lessons. Start with available subjects, such as hands, crumpled paper, and popcorn. Teachers might start with blind contour and modified blind contour in order to reinforce hand eye co-ordination.
2. Review Tonal (Value) Drawing. This is an exercise designed to increase students’ skills in rendering. Set up a variety of simple objects at various stations around the room. Students prepare their cartridge paper by drawing a margin about 2 cm in width from the edges of the paper to define an image area. Their drawing should touch at least three sides of the defined image area. Review tonal drawing by demonstrating techniques such as hatching, cross-hatching, stippling, and graded values. Assign students to a drawing station. Students complete one fully developed tonal (value) drawings using a 2B, 4B, or 6B pencil.
3. Sustained Still-Life Drawing. The teacher sets up several more complex still-life arrangements around the classroom. Students execute a sustained still-life drawing in a medium not previously used in this unit. (Conte, charcoal, pencil, chalk, and coloured pencils are suggested media.) Students use a simple cardboard viewfinder to isolate a composition within the still-life arrangement. This is a sustained two- to three-hour drawing done on 30 cm x 45 cm sheet of cartridge paper. It will take some time for students to collect the items required for the next assignment. Students create a “Look Page” (a visual resource page) in their resource journals. They collect images of a variety of textures (e.g., turtle shell, elephant skin, fur, feathers, scales, horns, leaves of plants, etc.) from organic sources. By starting the collection process early students will have enough time to collect the numerous resources required for the next activity.
b) Visual Exploration of a Modified Design
4. Not-So-Still Life. Students take their sustained still life and create a new composition in which they apply their creativity and observational drawing skills. Students overlay their original drawing with another sheet of 30 cm x 45 cm paper and trace the basic shapes. The teacher announces to the students that the theme of this work will be to bring “life” to the still life just completed using some of the design devices. Typical devices include animation, substitution, and metamorphosis. At this time students use the images collected on their Look Page as reference for the creation of new textures and surfaces. Teachers should provide specifications for the changes to be made in the objects drawn. For example, objects could be made to:
· become capable of movement;
· have appropriate surface textures (see Look Page);
· maintain the overall compositional arrangement;
· display a balance of animate and inanimate characteristics.
In addition to bringing the still life objects to “life”, students are challenged to create a centre of interest by emphasizing an object or an area of the composition. When the drawings are complete, display the first still life with the “not-so-still life”. Students should give their works a title and print their names legibly.
The Gallery Tour
5. Students complete a gallery tour of student artworks. While viewing artworks students complete a Reflection Sheet ( Appendix DD) and an Elements and Principles of Art Checklist (Appendix HH). It may be necessary to do a review of the elements and principles of art particularly if students did not take Grade 9 Visual Art.
· Additional time may be provided to complete tasks.
· A checklist for completion may be provided to help students stay on task.
· An example may be shown to help students visualize a solution.
· Buddy up a stronger student with one who could use encouragement and support.
· See Appendix B.
· The teacher uses a rubric for evaluating the Sustained Still Life Drawing (see Appendices DD and FF) and the Not-So-Still Life Drawing (see Appendix GG).
· Students with respiratory problems should not use charcoal.
· Charcoal and pastels should be wrapped with paper towel for students with skin allergies.
· Only water-based markers should be used.
Base, Graham. Animalia. Toronto: Irwin Publishing, 1987. ISBN 0-7725-1668-5
Edwards, Betty. Drawing on the
Right Side of the Brain. Los Angeles: J.P. Tarcher.1979.
ISBN 0-87477-088-2
Goldstein, Nathan. The Art of Responsive Drawing. ISBN 0135979315
Nicolaidies, Kimon. The Natural Way to Draw. Boston: Houghton Mifflin, 1975. ISBN 0-395-20548-4
Roukes, Nicholas. Art Synectics. Massachusetts: Davis Publications, 1984. ISBN 0-87192-151-0
Roukes, Nicholas. Design
Synectics. Massachusetts: Davis Publications, 1988.
ISBN 87192-198-7
Wilton Art Appreciation Program: Series 100 CD-ROMs – Artists at Work