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Course Profile
Visual Arts, Grade 11, University/College Preparation, Catholic and
Public
Course Overview
Course
Profiles are professional development materials designed to help teachers
implement the new Grade 11 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
Public
and
Lead
Boards
Writers
Jane
Wharton (Lead Writer),
Ashley
Coventry,
Darcey
French,
Teresa
Reeves,
Alan
R. Wilkinson,
Project
Managers
Jennifer
Perkin,
Dorothy
Stewart,
Internal
Review Team
Cyrel
Troster, The
Susan
Jones, The
Religious
Ed. Reviewer
Margaret
Shea-Lawrence,
Course
Overview
Visual
Arts, Grade 11, University/College Preparation, AVI3M
Prerequisite: Visual Arts, Grade 9 or 10, Open
This
course is designed to introduce students to the knowledge and skills that they
need to meet the entrance requirements for specific college and university
programs. Students will explore a wide range of subject matter through studio
work to include various drawing activities, watercolour paintings, assemblage
and constructive sculptures. Students will also deal with contemporary social
justice issues in the solution of an independent visual problem. Throughout the
course, students examine and use critical thinking and problem solving
strategies to inform their creative process while building a presentation
portfolio. Students will also analyse art works and study aspects of western
art history, as well as art forms from
The focus
of this course is to engage student’s lives with issues and themes of moral,
social and spiritual importance. We are asking them to: “Bring Life to Faith,
Bring the Faith to Life” (Groom, Thomas) by encouraging their critical
reflective skills in reasoning, remembering, and imagining. It is hoped that
students will encourage others to, “share the Christian story and vision for
God’s reign” (Groome), with a future focus on sharpening social consciousness
within their personal lives. Through the development and application of
spiritual thoughts, students as contemporary image-makers will be encouraged to
lead lives based on the potential to “live faith that does justice.”
·
Access
to a wide variety of visual, historical, and technical resources to support the
curriculum is important.
·
Health
and safety in the classroom must be a priority when dealing with materials,
equipment and routines. Proper ventilation and eye-wash stations are essential
when using materials that pose potential health and safety concerns as well as
strict adherence to other information regarding safe storage, handling, and
disposal of toxic substances from the Workplace Hazardous Materials Information
System (WHMIS) safety sheets.
·
Environmental
concerns related to the production of fine art, works in applied design, and
works in craft should be discussed at the beginning of every unit to inform the
students of any potential hazards and teach them to be responsible when dealing
with such materials.
·
Portfolio
development is an important student assessment tool for visual arts. Students
should document their studio development in both technique and expression using
portfolios. The presentation portfolio, which showcases the student’s best
work, although submitted near the end of the course, should be part of an
ongoing process of organization, layout decisions, documentation, and revision
throughout all units.
·
Students
should keep a sketchbook/resource journal to document and evaluate their
creative process and studio development in both technique and expression.
|
Unit 1 |
Perception and Reality |
18 hours |
|
Unit 2 |
Do We Need Another Hero? (What makes a Hero?) |
22 hours |
|
* Unit 3 |
Juxtapositions and Arrangements |
22 hours |
|
* Unit 4 |
The Art of Interpretation |
23 hours |
|
Unit 5 |
Synthesizing Memory |
25 hours |
* These
units are fully developed in this Course Profile.
Time: 18 hours
Unit
Description
This
unit will present a strong emphasis on beginning the process of abstraction, in
drawing and painting. There will also be a strong emphasis on the importance of
proper preparatory work in the creative process. This unit is a refinement to
the acquisition of critical thinking and problem solving skills that will set
the groundwork for both theoretical and concrete applications of the course
content. Through the exploration of the period of Mannerism and the Baroque,
students will be given the opportunity to demonstrate their critical thinking,
questioning and reasoning skills. The ideas of illusion and reality are more
closely linked than we often presume.
The
three essential questions that frame this unit are:
1. What role has abstraction played in the art
of the Mannerist and Baroque periods? (Theory)
2. How do I introduce levels of abstraction into
my own art? (Creation)
3. What are the roles of invention and
abstraction in art? (Analysis)
Students
will use interpretative line drawings to visually depict a word they have been
given. The act of interpretation will allow the students to impart a personal
connection to the literal term, in a visual format. The interpretation will be
supported heavily by the initial discussion in the first activity, on the
elements and function of line. The exploration of the qualities of line will
lead to an investigation of the figure in space. This will develop into an
on-going student centred exploration of figurative drawing in the
sketchbook/resource journal.
·
The
exploration of line and perspective can be exemplified by works like
Raphael’s School of Athens, c. 1511, which utilized activities similar
to those used by students in this unit. Raphael used the tool of linear
perspective to create an illusionary grouping of the greatest thinkers in
Western civilization, up until that point.
·
Nicholas
Poussin’s Holy Family on the Steps, 1648 can be compared to Raphael’s
·
An exploration of colour can be seen in Rosso Fiorentino’s The Descent from the Cross, 1521,
which presented a Biblical story using elements of architecture combined with
vivid colour that challenged conventions of the 16th century.
·
Early
Modern expressive painting utilizes many of the same qualities as Fiorentino
used, to create works that evoke emotional responses. Matisse’s The
Red Room: Harmony in Red, 1908 evoked anger, excitement and passionate
responses from viewers, based on his perceived misuse of the early
twentieth-century artistic colour palette.
·
Although
M.C. Escher in his lithograph Up and Down, 1947 was not concerned with
colour, he utilized similar architectural constructs as Raphael and Poussin,
yet he created an atmosphere of ambiguity challenging our precepts of
illusion and reality.
·
David
Milne, an early twentieth-century Canadian artist could easily straddle the intense
colour used by Matisse, and the architectural manipulation of
Escher. The connection to Matisse’s work was not only symbolic, it was
important, especially after Milne’s viewing of Matisse’s work at the Armory
Show of 1913, in
Prior
to Activity 1 Starting Line students should be provided with a list of
terms related to the characteristics of line, which will be used for an
Internet search (see Appendix A). A good website to visit is www.artlex.com.
The information found will be the foundation for the in-class discussion. The
teacher will facilitate a discussion on the importance of visual language,
which will be a consolidation and clarification exercise, utilizing the terms:
weight, speed and direction of line. The purpose of this discussion is to
impart the meanings of the various terms associated with the content of the
unit and to familiarize the students with their usage. (Suggested Time: 1 hour)
Activity
2 Drawing the Line allows the students to apply their knowledge of the
expressive qualities of line, which is dealt with in the class discussion of
Activity 1. The students will create graphic equivalents of a list of words, or
concepts that are provided by the teacher. Some examples are: past, present, or
future, democracy, oppression and freedom (you can also use Appendix A). The
teacher should instruct the students that they are not to use symbols to depict
the concepts, they can only use the expressive visual language of line (fast
line, slow line, wavy line). Suggest sketchbook homework to review gesture and
contour styles of drawing. (Suggested Time: 1 hour)
The
figure in one-or two-point perspective space is the focus for Activity 3, Putting
It In Perspective with an emphasis on drawing as ‘illusion’. This unit is
directly related to the discussion on Matisse and Milne at the start of the
overview; these works could be used to provide examples to the students. The
students will construct a rudimentary drawing of a large one-or-two point
perspective room, which will act as the substructure for their figurative
drawings. The room is to act as a guideline to help enforce the importance of
placing the human figure in perspective while drawing. The objective now
becomes to render three figurative drawings in a gestural manner, within the
confines of the architectural substructure. There should be an emphasis on
spatial accuracy and each of the drawings should be placed in one of the
foreground, middle ground, or background. Other drawings could address other
points of view, for example: overhead view, bird’s eye view, normal view, and
worm’s eye view, through the use of contour drawing skills. (Suggested Time: 3
hours)
Activity 4, Colourful Concepts,
deals with the expressive qualities of watercolour painting, and the ability to
convey meaning and emotion. Students will create a painted figurative image, by
using distortion and exaggerated colour, attempting to convey an emotion, or
feeling. To strengthen the possibility of colour conveying expressive
qualities, students should attach the emotion, or quality, that they would like
to depict during their four figurative painting explorations. By reproducing
the same simplified figurative image based on outline (four times), students
will apply the colour schemes of monochrome, primary relationships, and the
Mannerist colour palette to their individual figurative paintings with an eye
for colour relationship. Students should be encouraged to explore the emotive
qualities of pastel colours, jewel tone colours, and the possible contrast of
the two in relation to perspective.
As
the students will be constructing a pop-up painting in the next activity, this
would be a good opportunity to provide them with the chance to experiment with
colour intensity and perspective (distant images are lighter, while closer
objects are darker). The teacher could also raise the issue of optics, and
visual perception in art and how that relates to colour intensity during the
creative process. Students should be encouraged to record their favourite
colour mixtures and contrasts, and should also be encouraged to keep colour
experimentation pages, listing and demonstrating colour combinations that they
might like to use in future works, and why. This assignment could be seen as an
extensive preparatory task for Activity 5. There should be a strong emphasis on
the need to have a strong foundation when creating work that is not isolated to
meaning alone. Colour exploration is as important to painting, as is the act of
painting. (Suggested Time: 4 hours)
Activity
5, Spaced Out, is the culminating assignment for this unit. Students
will create a watercolour pop-up painting of an interior/exterior scene that
incorporates the figure in a Mannerist style that emphasizes the elements of
the four previous activities, i.e., interpretative use of line, perspective
drawing and illusion, figurative image using distortion and exaggeration of
colour to make message strong. The painting should involve at least four layers
of images, and should be no smaller than 10 x 10 inches in size. The layers
should emphasize the use of proper perspective, either in its pure form, or a
deliberate abstraction of perspective.
The
student should be encouraged to incorporate a subject matter that does not
simply adhere to the task; there should be some form of meaning to the work. It
might be a personal message/meaning to the student.
All
action, colour, and composition for this assignment should be concerned with
illusion; the paintings are based on reality, but should manage to evoke a
strong response from the viewer by drawing them into the illusion of the pop-up
painting.
Works
by Baroque artists such as Vermeer, Rembrandt, Velasquez, and Poussin can be
examined to gain an understanding of how the artist used foreground, middle
ground, and background; dealt with the relationship between the human figure
and an environment; created meaning or a message; and used colour and emotion.
The teacher can stress the power of art to express ideas. Students will have to
do extensive research on their own to support a Mannerist or Baroque theme;
this research should be included in the presentation of the work during the
final evaluation. (Suggested time: 9 hours)
Unit
Overview Chart
|
Act. |
Expectations |
Assessment |
Focus |
|
1 |
CR1.03; AN1.01; AN1.02; AN3.02; CGE2b; CGE2c; CGE2e |
K/U |
Starting Line - discussion on visual language - students complete internet search for concepts and ideas of line and descriptive language. - the ABCs of fast and slow line to reveal the complexity and subtlety of visual language. - descriptive line exercise – weight, direction and speed |
|
2 |
CR2.01; CGE3b; CGE3c |
C; A |
Drawing the Line - visually interpretive line drawings - word association drawings - gesture and contour review |
|
3 |
CRV.02; CR2.01 |
C; A |
Putting It In Perspective - Perspective Drawing as Illusion - Rendering the figure in gesture and contour within the confines of 1-pt or 2-pt perspective |
|
4 |
CRV.02; CR2.03; CGE4b; CGE4f |
T/I; C; A |
Colourful Concepts Analogy paintings - using colour to inform - colour palettes exercise: monochrome/primary/ secondary/complementary/Mannerist and Baroque - colour exploration - create a painted figurative image using distortion and exaggeration of colour to make your message strong |
|
5 |
CRV.01; CRV.03; CR2.02; AN1.03; CGE4d; CGE4e; CGE4f |
T/I; C; A |
Spaced Out - create an expressive, watercolour, pop-up painting of an interior/exterior scene that incorporates the figure in a Mannerist/Baroque style that emphasizes the elements of the four previous activities |
K/U =
Knowledge/Understanding C
= Communication
T/I =
Thinking/Inquiry A
= Application
Time: 22 hours
Unit
Description
Students
will create, analyse and study works of art that create meaning through the use
of metaphor and transformation of meaning. Activities will focus on how artists
can create meaning through the use of symbols and the use of design devices
such as juxtaposition and substitution. Within the context of the neoclassical
period of western art, students will develop an awareness of how the artist
creates a message or meaning by manipulating images to suit a particular
purpose. Concepts such as propaganda, heroism, celebrity, and the ideal are
explored alongside design devices such as repetition, distortion, juxtaposition,
and substitution. Students will compare historic fine art examples to
contemporary mass media design and communication.
The
essential questions for this unit are:
1. What types of transformations are used in
different cultures and time periods? (Theory)
2. How can we use transformations to create art?
(Creation)
3. How do transformations allow the artist to
create meaning? (Analysis)
The first activity, Do We Need
Another Hero? is a guided viewing exercise of David’s Oath of the
Horatii and Barbara Kruger’s Untitled (We Don’t Need Another Hero). The
teacher should emphasize that David’s painting uses the design device of
substitution to project the ideals of the ancient world into the contemporary
events of the French Revolution. The painting advances the nobility of dying
for a civic virtue or ideal, a necessary idea to further the success of the
revolutionary changes taking place in
The
examination of the Oath of the Horatii can be contrasted with a guided
viewing of Untitled (We Don’t Need Another Hero). In Kruger’s
work we see both appropriated image and text juxtaposed challenging the viewer
to find meaning. By isolating an image from an old basal reader and
superimposing lyrics from a popular song sung by Tina Turner, Kruger questions
the very concept of heroism advanced by David. The teacher can use the image to
explore questions such as:
·
Who
is making this statement?
·
Does
this image question commonly held assumptions about the concept of the hero?
·
How
does the ambiguity of the question influence the work?
·
How
readily influenced are we by such messages?
(Suggested Time: 1.25 hours).
In
Activity 2, Where are the heroes?, students will explore how printmaking
and the evolution of mass media have offered artists opportunities to reach a
much larger audience. Students will be introduced to the work of such
nineteenth century artists as Goya and Daumier, and in groups develop a
consensus of heroic qualities of works such as Third Class Carriage by
Daumier. In the 1800s these artists presented striking and challenging images,
which reflected their political and social concerns.
Students
will be given an opportunity to study twentieth century mass media publications
such as comic books and graphic novels that offered the public a wide range of
“heroic” visions. For example, students could look at heroic characters from
the comic book genre, such as Dick Tracy, Superman and Canadian
cartoonist Todd McFarlane’s Spawn to determine how these characters
reflected the cultural contexts in which they were created. Through discussion
and the deconstruction of some of these characters, students will begin to
build a framework, which will help them to define what makes a hero or an
anti-hero.
In
Activity 2, the concepts developed in the viewing exercise above are extended
and reinforced with a research and collecting activity in the resource
journals. The collecting exercise should be designed to focus students on
locating images in popular media that they feel reflect some of the concepts
discussed in class. (Suggested Time: 2.75 hours)
Activity
3 entitled What is a Hero?, requires the students to display one of the
images collected in Activity 2. Each student will display one image and give
their criteria for choosing that individual as a hero. This activity will
generate a set of criteria that defines a hero. The class must agree on these
criteria so that students may apply them to the selection of heroes for the
printmaking assignment.
(Suggested time: 1.25 hours)
In
Activity 4 The Making of a Hero? students will create an intaglio print
(or a manipulated photocopy image of an original drawing where intaglio
printmaking is not available) using a linear rendering technique. The intaglio
printmaking technique that is accessible for most secondary school classrooms
is drypoint. Drypoint gives a result that is similar in appearance to an
etching. The plate may be a rigid sheet of plastic that is easily scratched
with a sharp object such as a nail. The plates are inked such that ink is
retained in the grooves but removed from other areas. The plate is printed onto
dampened paper in an etching press.
The teacher will direct students to
select a person from any time period or culture whom they consider to be a
hero. Students should be reminded that they will present their individual
criteria for making this selection in written form when the prints are
displayed. Students should be given the opportunity to research images and
information from available sources such as the school resource centres and the
Internet. Teachers should structure the design challenge for this image with
specific requirements that encourage the student to create original
compositions. Requirements may include: recognizable linear depiction of the
person using contour line; head and shoulders view; and inclusion of a placard
with a message on a contemporary issue to be determined by the student. The
teacher should demonstrate drypoint techniques such as stippling, hatching and
cross-hatching and show examples of masterworks, which exemplify successful and
effective drypoint prints. Time and materials permitting, the teacher may wish
to extend a print from the edition with other media such as coloured pencil,
watercolour, collage or markers. (Suggested Time: 14.5 hours)
Activity
5, Show me a hero? extends the printmaking process to permit the
presentation of printmaking in a variety of formats. Three approaches are
presented here, however, students may wish to explore other approaches, which
they feel will best reveal the heroic in their prints. First, an edition of
prints could be presented as narrative in book or scroll format with different
visual and text extensions for each print. Alternatively, one print from each student
could be presented with a group statement. Second, each student could construct
a box with their prints applied to the surfaces with a view to presenting their
hero as a product. Third, the prints may be presented in a quilt or grid
presentation. An extension/enrichment activity might involve creating this grid
design by scanning a series of prints into a photo-editing program and
manipulating this ‘quilt design’ with a snap-to-grid feature. These
presentations encourage peer critiques and public viewing. (Suggested Time:
2.25 hours)
Unit
Overview Chart
|
Act. |
Expectations |
Assessment |
Focus |
|
1 |
THV.01; THV.02; TH1.01; TH1.02; TH2.01; TH2.05; TH2.06; CR1.01; AN2.04; CGE2a; CGE2e |
K/U; T/I; C; A |
Do We Need Another Hero? - Deconstruction of Neoclassical compositions and contemporary images |
|
2 |
ANV.01; CR1.03; CGE4f; CGE7g |
T/ I; C |
Where are the Heroes? - Resource journal: collecting exercise |
|
3 |
ANV.02; ANV.03; ANV.04; AN1.05; AN1.06; CGE5b; CGE5e |
T/I; C |
What is a Hero? - Developing the criteria of a hero |
|
4 |
CRV.01; CRV.02; CR1.02; CR2.01; CR2.02; CR2.06; CR3.02; TH1.04; CGE5g; CGE7i |
K/U; T/I; C; A |
The Making of a Hero? - Intaglio print: heroicalness and mixed media |
|
5 |
THV.03; AN2.02; CGE2c; CGE5e |
C; A |
Show me a hero? - Intaglio print display |
Time: 22 hours
Students
will study how artists use juxtaposition and arrangement as strategies in the
creative process to create compelling works of art. Students discover how the
arranging of apparently unrelated objects and the combining of opposites in art
works provides rich opportunities to develop meaning.
The
three essential questions that frame this unit are:
1. How do artists bring together opposites or
dissimilar subjects in their art? (Theory)
2. What approaches can we use with juxtaposition
to create art? (Creation)
3. How do juxtapositions allow artists to create
meaning? (Analysis)
Unit
Overview Chart
|
Act. |
Expectations |
Assessment |
Focus |
|
1 |
THV.02; ANV.02; TH1.03; TH2.05; TH2.01; TH2.03; CR1.01; CR1.02; CGE1h; CGE2e; CGE5b |
K/U; T/I; C |
Beyond the Obvious: Stuff You Never Knew - viewing Exercise: The Death of General Wolfe and Shiva God of War |
|
2 |
CRV.01; ANV.01; CR2.04; AN1.01; AN1.04; AN1.05; AN2.01; AN2.02; CGE2c; CGE3c; CGE5a |
K/U; T/I; C; A |
Meaning in 3D - creation assemblage sculpture inspired by Robert Rauschenberg |
|
3 |
THV.02; TH1.02; TH2.05; AN1.05; CGE5b |
K/ U; T/I; C |
Cultural Contexts and Meanings: Two Sculptors at Work - guided viewing activity - creation of a comparison chart |
|
4 |
CRV.01; CRV.02; RV.03; CR2.02; CR2.04; TH1.03; AN3.01; CGE4a; CGE5g; CGE7i |
K/U; A |
The “Juxtaportrait” - psychological constructive sculpture: slotted construction based on contour drawing |
Time: 23 hours
Unit
Description
Illustration,
whether narrative, symbolic, or conceptual is story telling: “From Egyptian
hieroglyphics to Mexican codices and murals, today’s visual arts in all their
forms—is story telling” (Nicholas Roukes). Artists have historically used
narrative, symbolic, and conceptual images to make comment, or tell stories
that were important to the people of their time. Gericault, Daumier, and Goya
all used their talent, combined with their ability to tell a story, to draw
attention to important issues. Contemporary Catholic social justice is a
continuation of the concerns that many of these artists addressed in their
works. Whether using Romantic depiction, or Realistic representations, art has
the ability to bring to the forefront, suffering, triumph, and the struggles of
humanity.
The
three essential questions that frame this unit are:
1. How do Realism and Romanticism differ?
(Theory)
2. How does the design process affect the
meaning of my work? (Creation)
3. How do the elements and principles of design
inform the decision making process in my work? (Analysis)
Unit
Overview Chart
|
Act. |
Expectations |
Assessment |
Focus |
|
1 |
ANV.01; CRV.01; TH1.01; CR1.01; CR2.01; CGE3c |
T/I; C; A |
Pen and Ink Technique - students view pen and ink drawings - teacher gives a technique sheet - experimentation of technique through creation of a drawing. |
|
2 |
ANV.01; CRV.01; AN1.04; AN1.05; CR2.03; CR2.04; CR3.01; CGE2b; CGE3e; CGE4b |
T/I; C; A |
Literary Interpretation - interpreting meaning using the four approaches: narrative, character/cast, allegorical or symbolic. - Viewing exercise for understanding, analysis and discussion - Review of effective composition - Reading and visual interpretation of a nineteenth-century literary passage - Drawings based on student’s interpretative approach. |
|
3 |
CRV.01; CRV.02; THV.02; CR1.02; CR2.04; TH1.02; TH1.03; TH2.01; TH2.04; AN1.03; CGE3c; CGE5b; CGE5g |
K/U; T/I; C; A |
Artistic Transformation - students create mind maps on small “r” romanticism and realism (own perceptions) - teacher explains viewing activity and how to classify artworks - students view six artworks from the Romantic and Realist period, and through teacher-given information (facts behind artworks, definition of social justice and propaganda, etc.), group analysis, discussion and classification into Romanticism or Realism period - stylistic conversion drawing |
|
4 |
THV.01; CRV.02; ANV.01; TH1.02; CR1.02; CR1.03; CR2.03; CR2.04; CR3.03; AN1.02; AN2.02; CGE1d; CGE3c; CGE3e; CGE5b; CGE7e |
K/U; T/I; C; A |
How Do I See It? - The selection, interpretation and visual depiction of a contemporary social justice issue |
Time: 25 hours
This is the summative evaluation unit for the
course and is worth thirty percent of the final mark. It is the culmination of
the knowledge, skills, and experiences acquired during the course. Students
will address specific aspects of each of the four units in the creation of this
artwork.
In Wrapping it Up, students
will reflect on their recent accomplishments by selecting their best work from
each unit and presenting those works along with “this final artwork” in a
presentation portfolio. As part of their final portfolio, students will provide
results of research on an art-related career of personal interest to them,
along with the entrance requirements for post-secondary programs that pertain
to their interests. These can be searched for electronically on the Internet or
manually.
(Suggested time: 12 hours)
In
Activity 2, the Culminating Task Proposal: students write a proposal to
express their intent for their final work, which is a drawing that is linked to
the essential questions from the year. The treatment of these components will
be dependent on which four of the essential questions that they decide to deal
with as set down in a written statement of intention (proposal) to be completed
before undertaking the unit. (Suggested time: 3 hours)
For
the Culminating Task in Activity 3, students will produce a drawing that
has three major components: the figure, space, and object. The treatment of
these components will be dependent on which four of the essential questions
that they decide to deal with as set down in a written statement of intention
(proposal) to be completed before undertaking the unit. For example, students
may choose the question from Unit 1 “How do we introduce levels of abstraction
into our art?” If that were the case, then one of the components of the drawing
would have to display a significant level of abstraction. If the student also
chose the question from Unit 3 “How can we use contrasts to create art?” then
the drawing would have to contain a disjunctive relationship between at least
two of the components in the work.
Students
will visually plan the work in their sketchbooks paying attention to the steps
of the design process. Students should be given a choice regarding the medium
and specifically challenged to define their own needs with respect to the
inclusion of colour. Suggested media include: graphite, permanent marker,
conte, pen and ink, crayon, coloured inks, and watercolour. (Suggested time: 9
hours)
The
written component is present in Activity 4, Critical Analysis, and
requires the student to justify the choices made in the treatment of the
representation of components in their drawing. To do this the student will have
to identify specific features associated with the art historical period or
design concept. The student will provide a critical analysis of their success
of his/her work. Students will comment on the degree to which each of the
questions is addressed. (Suggested time: 1 hour)
Unit
Overview Chart
|
Act. |
Expectations |
Assessment |
Focus |
|
1 |
CRV.03; CR3.03; CR3.04; AN3.03; AN3.04; ANV.05; CGE4g; CGE5g; CGE5h |
T/I; C |
Wrapping It Up: - students will select works from the year and assemble a presentation portfolio to showcase their best work. This will include research on careers in art and post secondary education requirements in the arts. |
|
2 |
CR1.02; CR1.03; CR3.03; TH1.04; CGE3c; CGE4e; CGE5b |
K/U; T/I; C; A |
Culminating Task Proposal: - students write a proposal to express their intent for their final work which is a drawing that is linked to the essential questions from the year. |
|
3 |
CRV.01; CRV.02; CR2.01; CR2.03; CR2.04; CR2.06; CGE3c; CGE7i |
K/U; T/I; C; A |
Culminating Task - students create this drawing |
|
4 |
THV.01; ANV.01; AN1.01; AN1.02; AN1.03; CGE5b |
K/U; T/I; C; A |
Critical analysis - of own work - identifying features that express historical periods or design concepts and the degree to which success was achieved. |
|
· Brainstorming |
· interview |
|
· classifying |
· journal writing (reflection) |
|
· community involvement |
· lecture |
|
· computer assisted learning |
· model making |
|
· conferencing |
· oral explanation |
|
· discussion |
· peer practice |
|
· refinement and preparation of work for formal display |
· peer teaching |
|
· exploration, experimentation with a variety of materials and techniques |
· presentation, ongoing: oral, visual and written |
|
· field trips |
· problem posing |
|
· guided writing |
· research |
|
· homework; skills practice |
· visualization |
|
· inquiry |
|
Assessment
and evaluation is based on the provincial curriculum expectations and the
Achievement Levels outlined in the Curriculum Policy Document. Its primary
purpose is to improve student learning by allowing the teacher to provide
descriptive feedback to students and suggesting strategies for improvement.
Units 1- 4 comprise 70% of the course evaluation (derived from assessments and
evaluations directed at meeting the stated expectations). Unit 5 addresses the
final evaluation activities worth a total of 30% of the student’s final mark.
The
assessment plan will include:
|
· tests, quizzes |
· ongoing verbal feedback |
|
· written and oral critiques |
· reflections |
|
· research project assigned artwork |
· rubrics |
|
· marking schemes |
· final evaluations |
|
· drawing journal |
· formal presentations |
|
· assigned artwork |
· culminating task |
|
· self/peer assessments |
· final presentation portfolio |
|
· student-teacher conferences |
|
Individuals learn in different ways
and at different rates. Teachers must be familiar with Individual Education
Plan’s (IEPs) for any identified exceptional student in order to effectively
modify the curriculum for students with special needs and to make the visual
arts classroom an inviting learning environment for all. The Special
Education Companion, Ontario Ministry of Education and Training, 1999,
found in the Ministry’s Electronic Curriculum Planner, outlines learning
accommodations for students who have or display any of the following:
behaviour/emotional disorder, deaf and hard of hearing, blind and low vision,
learning disabilities, autism and pervasive developmental disorder,
developmental disability, deafblindness, physical disability, as well as
giftedness.
Teachers should refer to the student’s IEP for
modifications specific to each need, however, some general approaches are:
· working with a partner, peer helper;
· ongoing feedback;
· use of computers, Internet;
· compacting of units;
· additional time to complete assignments that might otherwise be completed in class and/or reduce the quantity of the assignment;
· provide opportunities for use of technology in organizing and presenting information, such as power point or presentations type software;
· use of scribe/translator;
· allow opportunities for alternatives to writing (i.e., graphic representations, media presentation, timelines, collages…);
· use of specialized tools, materials;
· offering alternate assignments;
· oral testing;
· build in opportunities for frequent progress checks with peer or teacher.
Apostolos-Cappadona,
Diane (ed.). Art, Creativity, and the Sacred An Anthology in Religion and
Art. Revised Edition. New York: The Continuum Publishing Co., 1995
ISBN 0-8264-0829-X
Art
of the Western World
Video set
Beckett,
Sister Wendy. Sister Wendy’s Grand Tour – Discovering Europe’s Great Art. New
York: Stewart Tabori and Chang, 1994. ISBN 1-55670-509-3
Beckett,
Sister Wendy. The Story of Painting. Toronto: Little Brown Canada, 1994.
ISBN: 0-316-70264-1
Brommer,
Gerald F. Discovering Art History, 3rd ed. Worcester, MA: Davis
Publications, 1999.
ISBN 0-87192-299-1
Brommer,
Gerald F. Collage Techniques: A Guide for Artists and Illustrators. Watson-Guptill
Publishing, 1994. ISBN 0823006557
Chilvers,
I and Osborne, H. (eds.). The Oxford Dictionary of Art. New Edition. New
York: Oxford University Press, 1997. ISBN 0-1986-0084-4
Garlick,
Dr. Kenneth (ed.) The Book of Art A Pictorial Encyclopaedia of Painting,
Drawing, and Sculpture. Revised ed, Vol. 6: British and North American
Art to 1900. Vol. 10: How to Look At Art. Italy: Grolier, 1997. ISBN
0-7172-7356-3
Hume,
Helen D. Art Teacher’s Book of Lists. Toronto: Prentice Hall Canada
Inc., 1998.
ISBN 0-13-517756-1
Hume, Helen D. Survival Kit For The
Secondary School Art Teacher, St. Louis County: The Centre For Applied
Research In Education Inc., 1990 ISBN 0-87628-789
Janson,
Anthony. History of Art. Prentice Hall, 1995. ISBN 0810934213
Mayer,
R. and S. Sheehan. The Artist’s Handbook of Materials and Techniques. Toronto:
Penguin Books, 1991. ISBN 0670837016
Mittler,
Gene A. Art in Focus. New York: Macmillan/McGraw-Hill, 1994. ISBN
0-02-662312-9
Murray,
Joan. Canadian Art in the Twentieth Century. Toronto: Dundurn Press,
1999.
ISBN 1-55002-332-2
Ochoa,
George, and Melinda Corey. The Wilson Chronology of the Arts. New York:
The H.W. Wilson Company, 1998. ISBN 0-8242-0934-6
Reichold,
Klaus and Bernhard Graf. Paintings that Changed the World, From Lascaux to
Picasso. New York: Prestel, 1998. ISBN 3-7913-1983-3
Reid,
Dennis. A Concise History of Canadian Painting, 2nd ed. Toronto:
Oxford University Press, 1988. ISBN 0-19-540663-X
Rosenblum,
R. and H.W. Janson. 19th Century Art. N.Y.: Harry N. Abrams, Inc., 1984.
ISBN 0-13-622621-3
Rossol,
M. The Artist’s Complete Health and Safety Guide. New York: Allworth
Press, 1994.
Roukes,
Nicholas. Art Synectics. Calgary: Juniro Arts Publications, 1982. ISBN
0-9193-43-00-7
Roukes,
Nicholas. Design Synectics: Stimulating creativity in design. Worcester:
Davis Publications. 1988. ISBN 0-87192-198-7
Roukes,
Nicholas. Humour in Art – A Celebration of Visual Wit. Worcester, Mass:
Davis Publications Inc., 1997. ISBN 0-87192-304-1
Silver,
Larry. Art in History. New Jersey: Prentice-Hall Inc., 1993. ISBN
1-55859-605-4
www.artlex.com
This
University/College Preparation Visual Arts course profile is written to meet
the requirements of the Ontario Secondary School Policies as outlined in Ontario
Secondary Schools, Grades 9-12, Program and Diploma Requirements, 1999 (OSS) policy
document as well as the Ontario Catholic School Graduate Expectations as
outlined in Educating the Soul, Writing Curriculum for Catholic Secondary
Schools,1998. Career units complement the goals of the Annual Education
Plan (AEP) as outlined in the Choices into Action, Guidance and Career
Education Program Policy for Ontario Elementary and Secondary Schools, 1999.
The units
address the learning expectations from The Ontario Curriculum, Grades 11 and
12, The Arts, 2000 for Visual Arts, Grade 11, University/College
Preparation and provide suggested clustering of these expectations to assist
the classroom teacher in delivering an effective curriculum. The profile meets
the 110 hour /1 credit requirement. Other documents used in the development of
this profile include: The Ontario Curriculum Grades 9-12, Program Planning
and Assessment, 2000.
This
course is designed to be flexible and easily adapted to all learners in all
communities.
Line is a
rudimentary form of communication. This example sheet is a simple manipulation
of line to communicate an idea. Using line as a form of communication is the
invention of humanity, and is a tool that serves us in many forms (digital,
artistic, architectural, fashion). Use these categories provided and the words
beside them to explore the power of line to express feelings, ideas, and states
of being. Keep all of your work and place it into a folder, or your sketchbook.
Try to keep your work neat and consistent, you might want to draw guide boxes
to place your drawings in. You cannot use symbols to depict the words; you must
only use line. Explore the quality of line, you might be surprised what you
create.
Characteristics
of Line: use line to express the following words.
Size: large versus small, mid size, small
versus small, large versus large.
Direction: up, down, side ways, skewed, multi
directional, wavy.
Speed: fast, slow, lagging, staggered,
quick..
Thickness: thick, thin, medium size, multiple
thin lines side by side.
Weight: heavy, light, medium, feather,
lead, balloon, squishing.
Value: dark, medium, light, grey scale.
Arrangement: side by side, cross hatching,
vertical, horizontal.
Emotions: sad, happy, glee, anger,
frustration, love, aggression, compassion.
Questions
1. What was the hardest word to depict using
only line?
2. What was your favourite line drawing once you
finished them all, and why?
3. What words do you think should be added?
4. Give 3 examples of how we use line to
communicate.
Coded
Expectations, Visual Arts, Grade 11, University/College Preparation, AVI3M
THV.01 · use appropriate visual arts
terminology in all areas of visual arts theory;
THV.02 · demonstrate an understanding of a
segment of Canadian art, fifteenth- to nineteenth-century Western art, and the
art of Asian and other cultures;
THV.03 · describe the impact of art
practices and materials on the environment.
Visual
Arts Literacy
TH1.01 – use appropriate terminology to
discuss the art materials, techniques, and styles associated with art forms
studied in the course;
TH1.02 – explain how the elements and
principles of design reflected in a specific work of art support the concepts
and ideas expressed through that work;
TH1.03 – describe the use and effect of
different materials, expressive qualities, and modes of representation in the
art works studied;
TH1.04 – describe environmental concerns
related to the production of works of fine art, works in applied design, and
works in crafts (e.g., production hazards, recycling, disposal of materials
such as lead used in pottery glazes).
Art
History and Culture
TH2.01 – describe aspects of the history
of fifteenth- to nineteenth-century Western art (the Renaissance, the baroque,
and the neoclassic, romantic, and realist periods);
TH2.02 – demonstrate an understanding of
selected aspects of Canadian art or architecture (e.g., portraiture,
topographical painting, church architecture and decoration);
TH2.03 – compare examples of applied
design and fine art from Canada and other cultures that have similar stylistic
qualities;
TH2.04 – describe how the same
iconographic symbols are used in different cultures (e.g., the lion in East
Asian art and the lion in European art);
TH2.05 – describe the relationship between
the works of artists or artisans of different periods in non-Western cultures
and the political, social, and religious climates of those periods;
TH2.06 – describe what was happening
concurrently in art, dance, drama, music, science, and philosophy during any
period studied.
CRV.01 · demonstrate through their studio
assignments the ability to solve visual and conceptual problems;
CRV.02 · produce original art works, using
a variety of materials, tools, processes, and technologies appropriately;
CRV.03 · document and evaluate their
creative process and art works, using portfolios.
Perceiving
and Planning
CR1.01 – analyse well-known historical
works of art that use media and processes that they wish to explore;
CR1.02 – use images from cultures from
around the world as source material for interpretation;
CR1.03 – use research material (including
material obtained from the Internet) appropriately and extensively in the
preparation stage of studio assignments.
Experimenting
and Producing
CR2.01 – demonstrate competence in basic
drawing skills (representational, abstract, conceptual);
CR2.02 – produce watercolour paintings
(using washes, glazing, or other techniques), complete intaglio prints (using
dry point, engraving, or etching), and make assemblages or construction
sculpture (using wood, wire, or textiles);
CR2.03 – apply the elements and principles
of design to express a particular concept or idea;
CR2.04 – produce fine art, applied design,
and craft forms that explore chosen themes or issues and that reflect informed
design decisions;
CR2.05 – plan and transform images, using
new technology (e.g., photo manipulation programs, CAD/CAM) as a resource for
their work;
CR2.06 – use equipment and art processes
safely for specific fine art, craft, and applied design projects.
Reviewing
and Evaluating
CR3.01 – use appropriate specialized
terminology when discussing materials and processes;
CR3.02 – evaluate their choice and
application of the materials and processes used in their work;
CR3.03 – document their creative process
by including in their portfolios evidence of the research and resources they
used, as well as their rough sketches, plans, revisions, and final art works;
CR3.04 – identify the most appropriate
works to include in their presentation portfolios.
ANV.01 · evaluate their own art works and
those of others, demonstrating an understanding of the process of critical
analysis and providing grounds for their aesthetic judgements;
ANV.02 · analyse works of art in relation
to their cultural, social, political, and historical contexts;
ANV.03 · analyse ways in which cultural
institutions shape our perception and understanding of art;
ANV.04 · analyse the influence of art on
their lives;
ANV.05 · analyse postsecondary educational
and career opportunities in visual arts.
Critical
Process
AN1.01 – evaluate works of art orally and
in writing, following standard procedures in critical analysis (e.g., consider
their initial reaction; describe the works using appropriate terminology;
analyse and interpret the works; evaluate the effectiveness of the works);
AN1.02 – use relevant concepts and appropriate
terminology when analysing works of art;
AN1.03 – explain how the style, history,
and artist-related information associated with specific works of art inform
their own work;
AN1.04 – analyse the narrative, symbolic,
and conceptual aspects of specific works of art;
AN1.05 – identify and explain the visual
information used to communicate meaning in particular works of art;
AN1.06 – identify cultural preferences,
social stereotypes, and personal biases related to specific works of art and
artists.
Aesthetics
AN2.01 – explain how representational
elements and the formal organization of visual content are used in both the
creation and the evaluation of art works;
AN2.02 – explain how moods, feelings, and
ideas are used in both the creation and the analysis of works of art;
AN2.03 – analyse the impact of galleries
and museums on the way in which we view and experience art works, focusing on
social and political issues (e.g., the means by which collections have been
created; the allotment of exhibition space; the ways in which various cultures
are represented in collections);
AN2.04 – analyse the issues surrounding a
controversial work of art, as well as works inspired by social and economic
events (e.g., the Crystal Palace in London, the purchase of Voice of Fire
by the National Gallery of Canada).
Personal
Development and Career Preparation
AN3.01 – analyse and describe the
intellectual, emotional, and spiritual influence that art has on their lives;
AN3.02 – evaluate the usefulness, in
various careers, of skills and knowledge that can be developed through the
study of visual arts;
AN3.03 – describe arts programs in various
postsecondary institutions;
AN3.04 – identify requirements for careers
in visual arts and fields related to visual arts, through an analysis of
various career possibilities (e.g., public relations for a gallery, curatorial
work).
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.
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;
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.
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