Course Profile Visual Arts, Grade 11, University/College Preparation, Catholic and Public

Unit 4: Artistic Interpretations

Time: 23 hours

Activity 1 | Activity 2 | Activity 3 | Activity 4

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 Synopsis Chart

Act.	Time	Expectations	Assessment	Tasks
1. Pen and Ink Technique	150 min	ANV.01; CRV.01; TH1.01; CR1.01; CR2.01; CGE3c	T/I; C; A	- students view pen and ink drawings - teacher gives a technique sheet - experimentation of technique through creation of a drawing.
2. Ways of Seeing: Literary Interpretation	330 min	ANV.01; CRV.01; AN1.04; AN1.05; CR2.03; CR2.04; CR3.01; CGE2b; CGE3e; CGE4b	K; T/I; C; A	- 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. Now You See It; Now You Don’t: Artistic Transformation	360 min	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	- students create mind maps on small “r” romanticism and realism (own perceptions) - teacher explains viewing activity and how to classify artworks - students view 6 artworks from the Romantic and Realist period, and through teacher given information (facts behind artworks, definition of social justice and propaganda, etc.), group analysis, and discussion they classify images into one of the two periods. - students choose one artwork from one of the two periods and transform it into an artwork from the other movement while honouring the integrity of the work.
4. How Do I See It?	540 min	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	- Unit 4 Culminating Task: the selection, interpretation and visual depiction of a contemporary social justice issue

Activity 1: Pen and Ink Technique

Time: 150 minutes

Description

This unit will be a simple technical exploration to introduce students to the process of creating with pen and ink. Students will view, observe, and experiment with the media, view slides, and complete an interpretative pen and ink drawing exercise in their sketchbooks for homework. The focus for the activity should be experimentation, the integration of learned techniques and the possibilities of the media. Students should be encouraged to apply the elements and principles of design to their drawings.

Strand(s) & Learning Expectation

Strand(s): Theory, Creation, Analysis

Ontario Catholic School Graduate Expectations

CGE3c - thinks reflectively and creatively to evaluate situations and solve problems.

Overall Expectations

ANV.01 - evaluate their own artworks and those of others, demonstrating an understanding of the process of critical analysis and providing grounds for their aesthetic judgments;

CRV.01 - demonstrate through studio assignments the ability to solve visual/conceptual problems.

Specific Expectations

TH1.01 - use appropriate visual terminology to discuss the art materials, techniques, and styles associated with art forms studied in the course;

CR1.01 - analyse well known historical works of art that use media and processes that they wish to explore;

CR2.01 - demonstrate competence in basic drawing skills (representational, abstract, conceptual).

Prior Knowledge & Skills

Visual Arts, Grade 9 or 10, Open

Planning Notes

· The teacher will prepare a selection of slides or artworks that provide a brief historical survey of works that are created in the pen and ink medium;

· The teacher should review the origins of the pen and ink medium;

· The teacher will prepare pens, a selection of nibs and inks and brushes for student use.

· Students will do the bulk of the work in an independent manner;

· Students should also be encouraged to further enhance their images using the available technology at the school. It is possible to scan and further manipulate their finished images, providing a possible extension for students who finish early, or have the desire to advance their image making and communicative skills.

Teaching/Learning Strategies

The teacher will:

· demonstrate pen and ink techniques as listed in Unit 4, Appendix A: graded wash, cross hatching to achieve differences in value, pointillism, pattern depiction, quality and variation of line, diagonal, horizontal, and vertical lines, positive and negative space considerations, and wet in wet drawing;

· introduce visual references of pen and ink technique along with a historical overview of the technique to students. Suggested references may be found under:

· Egyptian and Mesopotamian: 4500 years ago

· Chinese: 2600 B.C. – present. Han Kan Night Shining White, 742-56

· Japanese: 16thc. River Bridge at Uji, Momoyama Period 1568-1614

· Christian monasteries 6th-8th centuries

· Any illuminated manuscripts, e.g., The Book of Kells, 800 A.D.

· Leonardo da Vinci, 1452-1519. Used pen and ink almost entirely in many notebooks. Many of his planning drawings were first done in black chalk and fine details were added in ink for clarity and permanence.

· Raphael Sanzio 1483-1520. The plan for the Alba Madonna drawings done with red chalk and fine details added with pen and ink.

· Michelangelo Buonarroti 1475-1564. Considered drawing a basic requirement for painters and sculptors and impressed many with his masterly pen and ink drawings.

· Titian 1477-1576. Began the tradition of wash and ink drawings which was carried on by his successors. These drawings were the prelude to the Baroque style with its dynamic brushstrokes and freedom of handling.

· Nicholas Poussin 1594-1665. Claude Lorrain 1600-1682. French Neo-classicists who produced memorable works in their monochrome studies of landscapes in pen and ink or brush and watercolour.

· William Hogarth, 1697-1764. Probably the best known of early social satirists, used ink with brush and pen for planning his commentaries on life in England.

· William Blake, 1757-1827. Blake worked from his imagination. His exciting watercolour illustrations for Dante’s Divine Comedy 1824-1827 and for the Book of Job show his unique and powerful imagination.

· Aubrey Beardsley, 1873-1898. His use of sensuous, elongated, vertical forms and flat patterned areas helped usher in the Art Nouveau style of the turn of the century.

· Vincent van Gogh – vigorous use of line Fishing Boats of Saintes-Maries-de-la-Mer 1858

· Pablo Picasso 1881-1973. Used a variety of line and drawing materials in the pen and ink medium to enhance his communication skills.

· Alberto Giacommeti, 1901-1966. Drew with feverish energy, his continuous line gesture drawings appeared on any available surface and the ballpoint pen was his favourite tool.

· Henry Moore, 1891- Used crayon with watercolour wash in many of the drawings he did before tackling a sculpture.

· distribute and explain Unit 4, Appendix A: Interpretation and Pen and Ink Techniques to students. The objective of the assignment is to reinterpret an existing image by executing it using six different pen and ink techniques in the one drawing.

The student will:

· observe teacher demonstration of pen and ink technique followed by experimentation;

· observe the slides shown on the progression of pen and ink technique throughout history;

· complete the assignment given in Unit 4, Appendix A – Interpretation and Pen and Ink Techniques in their sketchbooks.

Assessment & Evaluation of Student Achievement

· Interpretation and Pen and Ink Techniques (Unit 4 Appendix A)

Accommodations

· Use of ballpoint pen, felt-tip marker, or technical pen instead of pen and ink, if necessary.

· Allow larger drawing surface and tools when necessary to accommodate for fine motor skill activity.

· Replace assignment with scratchboard as an extension.

· Enrichment activity could be the use of the computer to scan and manipulate the image to meet the goals or further enhance the assignment’s expectations.

Resources

Perkins, D. The Intelligent Eye: Learning to Think by Looking at Art. 1994. ISBN 0892362-74X

Reid, William. Developing Creativity, Portland: J. Weston Walch Publisher, 1989

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, Worcester: Davis Publications Inc., 1997. ISBN 0-87192-304-1

Smith, Stan (ed). Complete Guide to Drawing and Painting. New York: Reader’s Digest Association, 1997. ISBN 0-89577-956-0

See Course Overview for further art historical references.

Appendices

Unit 4, Appendix A – Interpretation and Pen and Ink Techniques

Activity 2: Literary Interpretation

Time: 330 minutes

Description

Viewing visual information and perceiving meaning occurs on multiple levels. Students will be encouraged to understand that the construction and conceptualization of artwork and illustration can have four main approaches: narrative, character or cast, allegorical, and symbolic. Throughout this activity students will be encouraged to seek evidence of these approaches in the works of art that they view and produce. In groups students will formulate a definition for one of the aforementioned terms, and present to the class. Students are then given formal definitions, and they will compare their formulated definitions to the formal ones provided.

Students will view two visual examples that represent each of these four areas. The teacher will encourage discussion on the purpose of narrative, symbolic, and conceptual illustration as it relates to meaning in these works of art. Students will record their findings on a summary sheet.

Students review effective composition concepts with a focus on realistic/representational, abstract, and non-representational composition, which is supported through the completion of a sketchbook assignment.

Students examine a 19th-century passage, reading for meaning on multiple levels. They will then use their understanding of the four terms as well as their understanding of effective composition to produce an illustration that depicts their choice of conceptual approach as it relates to this passage.

Strand(s) & Learning Expectations

Strand(s): Theory, Creation, Analysis

Ontario Catholic School Graduate Expectations

CGE2b - reads, understands, and uses written materials effectively;

CGE3e - adapts a holistic approach to life by integrating learning from various subject areas and experiences;

CGE4b - demonstrates flexibility and adaptability.

Overall Expectations

CRV.01 - demonstrate through studio assignments the ability to solve visual/conceptual problems;

ANV.01 - evaluate their own artworks and those of others, demonstrating an understanding of the process of critical analysis and providing grounds for their aesthetic judgements.

Specific Expectations

CR2.03 - apply 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;

CR3.01 - use appropriate specialized terminology when discussing materials and processes;

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.

Prior Knowledge & Skills

See The Ontario Curriculum Grades 9/10: AVN.02; THV.01; CRV.01

Planning Notes

· The teacher should be cognizant of the classroom dynamics and the grouping of the individuals. Groupings should be a maximum of four people.

· Photocopy Unit 4 – Appendix B, C, D, and E for distribution to the class.

· Assemble two visual examples to depict each of narrative, character/cast, allegorical, and symbolic approaches (see Appendix B, page 2).

· Prepare readings from a 19th-century novel for literary interpretation task.

Teaching/Learning Strategies

The teacher will:

· provide a handout (see Unit 4 Appendix B) for students to assist in their understanding of the four terms being introduced: narrative, character/cast, allegorical, and symbolic. Read through the handout and discuss with students while showing examples;

· show two visual examples of each term and encourage discussion on which device is best exemplified in the work of art and how it assists in communicating the appropriate message;

· review effective composition concepts with a focus on realistic/representational composition, abstract composition and non-representational composition (see Unit 4 Appendix C and D). Suggested sketchbook activities that pose compositional problems as a review, might include creating: a) a realistic design that implies balance, b) an abstract design that implies movement, c) a non-representational design that implies space etc.

· group students in fours and then provide the same passage from a 19th c author to everyone.

Suggestions include passages from:

· Victor Hugo (1802-1885), Hunchback of Notre Dame, Romantic novel, 1831

· Victor Hugo, Les Miserables,

· Fyodor Dostoevski, (1821-1881). The Brothers Karamazov, Impressionistic Realism

Other 19th-century authors may include:

· Charles Dickens 1812-70

· George Eliot 1819-80

· Emily Bronte, 1818-48

· Thomas Hardy, 1840-1928

· Leo Tolstoy, 1828-1910

· Mark Twain 1835-1910

· Mary Shelley, 1797-1851

The teacher may prefer to use poetry from the same time period instead of a literary passage:

· T.S. Elliot, 1888-1965, The Wasteland

· Robert Frost, 1874-1963, The Road Not Taken

· W.B. Yeats, 1865-1939, The Second Coming

· Emily Dickinson, 1830-1886

· William Blake, 1757-1827

· explain the assignment in that each student must read the passage individually for meaning, attempting to recognize the four terms or approaches they might apply to an illustration exercise (Unit 4, Appendix E);

· advise the students to record and list ideas for potential illustrations;

· group students according to how they selected one of the four illustrative approaches to further assist and promote the student’s understanding of how they wish to illustrate the passage;

· instruct students to design an illustration that best exemplifies the required term;

· encourage, observe, and assist with interpretations;

· give verbal assessment of finished artwork during presentations.

The student will:

· create definitions for the four terms, narrative, character/cast, allegorical and symbolic. Students will receive and read Unit 4 Appendix B;

· discuss the four conceptual approaches in groups and reformulate their definitions;

· view visual examples for meaning with a focus on narrative, character/cast, allegorical and symbolic being shown by teacher and record. In addition the following considerations should be accounted for: first impressions, descriptions, analysis and interpretation, and background information regarding each work (see Unit 4 Appendix E – page 2);

· review effective composition concepts with a focus on realistic/representational composition, abstract composition and non-representational composition by referring to Unit 4-Appendix C and D. Then complete one of the suggested sketchbook activities for homework (see Appendix D – Visual Definition), which might include creating a) a realistic design that implies balance, b) an abstract design that implies movement, c) a non-representational design that implies space etc.;

· read the passage individually for meaning, attempting to recognize the four terms or approaches they might apply to an illustration exercise based on the terms. (Unit 4, Appendix E);

· record and list ideas for potential illustrations. Students select one of the four illustrative approaches and design an illustration that best exemplifies the required term. Join groups of other students who have chosen the same illustrative approach to further confirm and strengthen their understanding of how the term applies to the passage;

· use their choice of drawing media, to create a finished interpretative illustration of the nineteenth-century passage using one of the four conceptual illustrative approaches (narrative, character/cast, allegorical, or symbolic) to depict their understanding of the writing, while adhering to rules of effective composition;

· present finished illustrations;

· give verbal feedback/assessment to peers during presentations.

Assessment & Evaluation of Student Achievement

CR3.03 - focus on the design process in the development of this idea (to include sketchbook assignment on composition);

CRV.01, CR2.04 - how effectively the passage was depicted using one of the four conceptual illustrative terms and use of effective composition;

CR3.02 - evaluate their choice of drawing media in terms of the interpretation created.

Accommodations

· provide additional time for students as required

· preferential grouping

Resources

refer to Teaching/Learning Strategies for literary suggestions

Appendices

Unit 4 – Appendix B, C, D, and E.

Activity 3: Artistic Transformation

Time: 360 minutes

Description

The focus for students will be a transition from the local (self), to global (historical) consciousness. They will complete mind maps, view slides, and categorize works in terms of style, meaning, social responsibility, cultural bias, propaganda, reality versus perception, class struggle, morals, values and symbolism. To gain an understanding of how Romantic artists and Realist artists depicted stories, or events, students will convert either a Romantic, or Realistic, work of art, into the other movement using marker, coloured pencil, chalk or oil pastel.

Strand(s) & Learning Expectations

Strand(s): Creation, Analysis

Ontario Catholic School Graduate Expectations

CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;

CGE5b - thinks critically about the meaning and purpose of work;

CGE5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others.

Overall Expectations

CRV.01 - demonstrate through studio assignments the ability to solve visual/conceptual problems;

CRV.02 - produce original artworks, using a variety of materials, tools, processes, and technologies appropriately;

THV.02 - demonstrate and understanding of a segment of Canadian art, 15th-19th century Western art, and the art of Asia and other cultures.

Specific Expectations

CR1.02 - use images from cultures from around the world as source material for interpretation;

CR2.04 - produce fine art, applied design, and craft forms that explore chosen themes or issues and that reflect informed design decisions;

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 artwork studied;

TH2.01 - describe aspects of the history of 15th, to 19th century Western art (the Renaissance, the Baroque and the Neo-Classic, Romantic an Realist periods);

TH2.04 - describe how the same iconographic symbols are used in different cultures;

AN1.03 - explain how style, history, and artist-related information associated with specific works of art inform their own work.

Prior Knowledge & Skills

Visual Arts, Grade 9 or 10, Open

Planning Notes

· A quick review of the elements (line, colour, shape/form, space, value, texture) and principles (balance, unity, movement, contrast/harmony, repetition (pattern, rhythm), variety, emphasis) of design, would help students create images that are not only aesthetically pleasing, but more likely to convey a specific message.

· Teacher should photocopy Unit 4 Appendix F for class distribution.

· The reference to the Design Process will help students make connections between skills learned in each activity (See The Ontario Curriculum, Grades 9/10, The Arts)

Definitions

Romanticism is “an art movement and style that flourished in the early nineteenth century. It emphasized the emotions painted in a bold, dramatic manner. Romantic artists rejected the cool reasoning of classicism – the established art of the times — to paint pictures of nature in its untamed state, or other exotic settings filled with dramatic action, often with an emphasis on the past. Classicism was nostalgic too, but Romantics were more emotional, usually melancholic, even melodramatically tragic.” (artlex.com, Romanticism).

“Colour, emotion, content and passion became key ideas in Romantic painting. They replaced the Neoclassic stress on line, intellect, form and judgement. Instead of focusing on ancient Greece and Rome as the source of all good design, the Romanticists explored the Middles Ages. The Romantic artists were also fascinated by Africa and the Orient.” (Brommer, p. 390)

Realism – “The realistic and natural representation of people, places, and/or things in a work of art. The opposite of idealization. Also known as the Realist School, denotes a mid-nineteenth century art movement and style in which artists discarded the formulas of Neoclassicism and the theatrical drama of Romanticism to paint familiar scenes and events as they actually looked. Typically it involved some sort of sociopolitical or moral message, in the depiction of ugly or commonplace subjects.” (artlex.com; Realism)

“Painting is an essentially concrete art and can only consist of the representation of real and existing things…an object which is abstract, not visible, non-existent, is not within the realm of painting.”

(Gustave Courbet)

While the teacher may choose any two artworks that he or she is comfortable with background information is given below as a suggested comparison only:

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. Gericault’s Raft of the Medusa, 1818-19 (Romantic), and Courbet’s The Stonebreakers, 1849 (Realism) are effective in illustrating how this struggle was depicted differently by the artistic movements.

Gericault’s Raft of The Medusa, 1818-1819 is a strong example of an artist using his ability to criticize and depict a tragic event from history. The importance of this work is not solely the artistic value, but also lies in the source for Gericault’s inspiration, and his attempt to construct a realistic depiction. The use of eyewitness accounts, maquettes, and life studies to create a sense of authenticity, strengthened Gericault’s symbolic representation. There are a number of social justice issues at work in this painting, including the class system that was enacted during the sinking of the Medusa, and the nepotism that led to an incompetent captain with eventual tragic results: “A shipwreck considered by some to be due to government incompetence” (Ochoa, p. 148). This painting demonstrates the human drama the Romantics loved.

Courbet’s The Stonebreakers, 1849 is a “matter-of-fact” depiction of two stonebreakers paving the new roads of provincial France. Courbet minimizes the emotion, sweat, and drama of such a scene and chooses instead to present sheer, unbiased fact. The mens’ worn and ragged clothing suggests a life of poverty. The bread, spoon, and metal soup pot tell the tale of the working class lifestyle. Due to the sheer 5’x 8’ size of the painting and placement of the figures, the viewer cannot avoid the subject matter of the workers as they are inescapably close to the foreground. This grand scale had traditionally been used only to depict people of importance before now, and this coupled with the blatantly depicted naturalistic detail of the scene caused shock to the viewers at the salon of 1850-51. The Stonebreakers visually depicts the artistic truth of the backbreaking work experienced by these unskilled labourers, and raises social justice issues surrounding the social and financial ‘equalities’ between people of the time. (Rosenblum & Janson) These two examples provide a strong juxtaposition of the underlying values and messages, depiction of subject matter, and stylistic preferences shown by Romantic and Realist artists.

· The teacher needs to compile a set of six visual references to show the students.
Some suggestions are:

· Turner, The Slave Ship, 1840.

· Gericault, The Raft of The Medusa, 1818-1819 (for a fascinating description of this incident see Julian Barnes novel, A History of the World in 10 ½ Chapters, Chapter 6 “Shipwreck”).

· Goya, The 3rd of May, 1808, 1814

· Daumier, The Third-Class Carriage, c. 1862.

· Delacroix, Liberty Leading The People, 1830.

· Millet, The Sower, c. 1850.

· Friedrich, Abbey in The Oakwoods, 1810.

· Delacroix, Death of Sardanapalus, 1828.

· Blake, Pity, 1795.

· Courbet, The Stone Breakers, 1849 or A Burial at Ornans, 1849.

· Kreighoff, Merrymaking, 1860.

· Plamondon, Sœur St. Alphonse, 1841.

· Kane, Mah-Min (The Feather), 1856 or Indian Encampment on Lake Huron, 1845-6.

· Harris, Meeting of The School Trustees, 1885.

· Hind, The Game of Bones, 1886.

· The teacher will prepare all necessary supplies.

· The teacher will have to introduce students to the concept of creating a mind map (thought web). Visual exemplars would help students understand the concept.

Teaching/Learning Strategies

The teacher will:

· introduce the concept of a mind map and explain the process to the students. The focus for the student’s mind maps should be the emotional concept of romanticism and realism (small ”r” romanticism and realism), as well as the historical definition of the two stylistic movements;

· show students three Romantic slides and three Realism slides/prints in random order;

· divide students into small groups, three to four students;

· circulate and assist while students are in their groups classifying the slides they have seen by using Appendix F (Guided Viewing Exercise Checklist);

· discuss propaganda and social justice issues with the students:

· propaganda: “The spreading of ideas, information, or rumour, for the purpose of helping or injuring an institution, a cause, or a person.; Ideas, facts, or allegations, spread deliberately to further one’s cause, or to damage an opposing cause” (Webster, p. 942);

· social justice: “do-justice is to treat adequately, or fairly, to act justly, to show due appreciation for, forgive in a way worthy of one’s powers” (Webster, p. 655);

· discuss with the students how the story was told and the use of perception to depict the stories, e.g., Gericault;

· assign students a stylistic conversion drawing (marker, coloured pencil, chalk or oil pastel.)

The student will:

· record the process that informed their choice of changes see (design process) and the reason for the choice of these changes using the proper language of art, i.e., The Death of Sardanapalus could be changed into a Realist work by removing Sardanapalus and replacing him with a tradesperson or farmer. The colours should be muted and changed to reflect complete two mind maps: one on their understanding of realism and one on their understanding of romanticism;

· in their groups, discuss and classify the six works shown by the teacher into either Romantic or Realistic styles, using the checklist (Unit 4, Appendix F);

· use the vocabulary of the process of design and the elements and principles of design to verbally communicate their choice of classification;

· choose either a Romantic work and turn it into a Realist work or choose a Realist artwork and turn it into a Romantic work. The students will transform this work through the discipline of drawing. Marker, coloured pencil, chalk, or oil pastels are suggested;

· present their final work to the class and explain the changes and the reason for each. The integrity of the original composition must be maintained, however, new figures could replace the existing ones.

Assessment & Evaluation of Student Achievement

· CR2.04 - the student will be assessed by the teacher on their success in transforming the stylistic depiction and their verbal communication of the steps of the design process.

Accommodations

· Have specific examples for students who have research difficulties

· Provide specific questions to aid students in their mind map, i.e., What do you think realism is?
What is romantic? etc.

· Provide students with a specific Romantic or Realist artwork and a list of possible changes.

· Extension could involve including the Neoclassical time period as an option since it was studied in Unit 3.

· Allow students to take contemporary subject matter and depict it in the spirit of either movement.

Resources

Brommer, Gerald F. Discovering Art History, Worcester: Davis Publications, Inc., 1997
ISBN 0-87192-299-1

Hart, Frederick. Art: A history of painting, sculpture, architecture, New Jersey: Harry N. Abrams Inc., 1989. ISBN 0-13-048703-1

Landa, Robin. Thinking Creatively (New Ways to Unlock Your Visual Imagination). Cincinnati: North Light Books, 1998. ISBN 0-89134-843-3

Mittler, Gene. Exploring Art, Woodland Hills: Glencoe/McGraw-Hill, 1999. ISBN 0-02-662357-9

Ochoa, G. and M. Corey. The Wilson Chronology of the Arts. N.Y: The H.W. Wilson Co., 1998.
ISBN 0-8242-0934-6

Poulin, Bernard. The Complete Coloured Pencil Book, Cincinnati: North Light Books, 1992.

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

Appendices

Refer to Unit 4 – Appendix F.

Activity 4: How Do You See It?

Time: 540 minutes

Activity 4 will be the culminating task for this unit. The focus of this activity will be the selection, interpretation and visual depiction of a contemporary social justice issue in the student’s own choice of medium. Students will obtain their main source of information through mass media tools, i.e., print media and electronic media. In the creation process the student’s work will be informed and guided by the elements and principles of design, and the stages of the design process. Their selection and transformation of meaning should demonstrate the students understanding of new ways of seeing. Some possible areas of social justice issue examination by students are, issues of racism, the environment, gender issues, poverty, indigenous rights, economic and personal persecution, and consumerism.

Strand(s) & Learning Expectations

Strand(s): Theory, Creation, Analysis

Ontario Catholic School Graduate Expectations

CGE1d - develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity and the common good;

CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;

CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and experience;

CGE5b - thinks critically about the meaning and purpose of work;

CGE7e - witnesses Catholic social teaching by promoting equality, democracy, and solidarity for a just, peaceful and compassionate society.

Overall Expectations

THV.01 - use appropriate visual arts terminology in all areas of visual arts theory;

CRV.02 - produce original artworks, using a variety of materials, tools, processes, and technologies appropriately;

ANV.01 - evaluate their own artworks and those of others, demonstrating an understanding of the process of critical analysis and providing grounds for their aesthetic judgements.

Specific Expectations

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;

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;

CR2.01 - demonstrate competence in basic drawing skills;

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;

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 artworks;

AN1.02 - use relevant concepts and appropriate terminology when analysing works of art;

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;

AN2.02 - explain how moods, feelings, and ideas are used in both the creation and the analysis of works of art.

Prior Knowledge & Skills

Visual Arts, Grade 9 or 10, Open

Planning Notes

· The teacher should provide access to mass media sources.

· The teacher should discuss the selection of information-rich sources, either print or electronic.

· Clear parameters on sources visited on the Internet need to be provided for students prior to its usage. There should be a focus on legitimate web sites, valid academic discourse, and the act of being a responsible Internet user. (Refer to: www.media-awareness.ca)

· Students should be encouraged to incorporate a variety of other media of their choice.

· It is suggested that the work may be done in a Romantic or Realistic style.

· Teacher should photocopy Appendix G – Student Self-Assessment Checklist, and Appendix H – Final Project Rubric, for assessment and evaluation purposes for each student.

Teaching/Learning Strategies

The teacher will:

· discuss the use of a social justice issue in the creation of art work. Time permitting teacher could show examples of modern conceptual work of this type ( a comparison between Pablo Picasso’s Guernica, 1937 and David Siqueiros’ Echo of a Scream, 1937 could be used to illustrate how protest against war may be depicted differently by two artists working in the same time period), or the teacher may choose to tie this theme in with a visit to a local gallery collection;

· encourage students to decide how they wish to ‘tell their story’ (narrative, character/cast, allegorical, symbolic);

· present the students with possible contemporary social justice issues as creative options to act as guidelines;

· refer the students to Activity 3 and the characteristics of Romanticism and Realism;

· assist the students in their choice of a social justice issue; remember the need for information rich sources;

· assess and evaluate artwork in a student/teacher conference using the Rubric in Unit 4 Appendix H.

The student will:

· select a social justice issue that will be the focus for their final work.

· collect information on their social justice issue, with the future goal of presenting this information in a visual format;

· Suggested activities: Using symbols as a basis for a design, create an artwork, mural design, billboard, monument, shrine, trophy for a specific location, that pays homage/ tribute to a worthy person or recognizes an event/issue of social conscience. Develop ideas for designs that can be taken out into the community. Design should imply a multiplicity of meanings and could potentially contradict, create a juxtaposition or effectively challenge the way we see the given situation or circumstance. Students select the materials (i.e., paint, mixed media, performance, sculpture, photography, installation) based on an informed decision of how that choice would reveal and enhance the intended message.

· Potential Themes: include individuals that represent social justice issues, i.e., Mother, Teresa, Ghandi, M.L. King, etc., as well as global issues, such as: the environment, poverty, consumerism, land rights, racism, decline of humanity, the progress of technology, etc.

· Historical references: should include local community murals and muralists; Roman and Mesoamerican mural influences; Expressionism: Edvard Munch, Georges Roualt; Mexican Expressionism: Diego Rivera, Jose Clemente Orozco, Frida Kahlo, Pablo Picasso/Guernica, Thomas Hart Benton; Social Realism: Jacob Lawrence, Ben Shahn, George Tooker; Pop Art: Claes Oldenburg, Roy Lichtenstein, George Segal, Andy Warhol, James Rosenquist, Judy Chicago, Barbara Kruger; Murals of east Los Angeles, NY City Subway graffiti etc.

· consider how they wish to ‘tell their story’ (narrative, character/cast, allegorical, symbolic);

· generate preparatory drawings in their sketchbook, on selected themes associated with their social justice issue;

· conference with teacher during the selection process, on issues that have informed their final decision of the social justice theme selected;

· in his/her choice of medium, create an original work that visually depicts the student’s perception of the social justice issue they have chosen using one of the four conceptual approaches learned in Activity 2.

· perform a self-assessment as outlined in Unit 4, Appendix G

· present their final work in a student/teacher conference

· verbally communicate their use of the principles and elements of design and the design process (See Visual Arts, Grades 9 and 10, Open Courses) as well as the manner in which the student depicted his/her culminating work

Assessment & Evaluation of Student Achievement

· Unit 4, Appendix G – Student Self Assessment Checklist/Anecdotal Reflection and Analysis

· Unit 4, Appendix H – Final Project Rubric

Accommodations

· Allow for extra time in the completion of the final work, as selection and information gathering might be difficult.

· Provide students with possible web sites they could visit to select a social justice issue.

· Have guiding questions available, if a student is having trouble narrowing a topic/issue.

Resources

Rosenblum, R. and H.W. Janson. 19th Century Art. N.Y.: Harry N. Abrams, Inc., 1984.
ISBN 0-13-622621-3

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

Strickland, Carol. The Annotated Mona Lisa. Kansas City: Andrews & McMeel, 1992.
ISBN 0-8362-8005-9

Appendices

Refer to Unit 4 – Appendix G, H.

Unit 4: Appendix A:

Interpretation and Pen-and-Ink Techniques Assignment/Assessment Sheet

Name ____________________________

Often the creative individual utilizes techniques and methods to transform ordinary objects into extraordinary uncommon images.

Your objective is to reinterpret a magazine image and execute it using six different pen and ink and brush techniques on a minimum size of 8 ½ " x 11" paper.

1. Choose a magazine image.

2. Break up the picture plane into between six and nine shapes and areas e.g., puzzle pieces, rectangles, free-form, stripes, etc. by either creating this ‘grid’ on acetate and superimposing or drawing the segments directly onto the magazine image.

3. Carefully select a technique from the chart below that is appropriate for each portion of the segmented magazine image paying attention to values changes, textural changes, changes in pattern, line, shape/form, etc… in each particular portion. The technique should still transmit the information in that area, e.g., texture might best be interpreted through the use of pointillism.

4. Interpret the original image using your chosen techniques.

Suggested techniques/assessment

Graded wash For change in value light to dark Level 1 2 3 4	Crosshatch Fine lines for shading and dark lines for emphasis Level 1 2 3 4	Pointillism Dots for variety and interest Level 1 2 3 4
Pattern To establish shape and form Level 1 2 3 4	Continuous Line for contour and exploration Level 1 2 3 4	Scribbled lines for mass and detail Level 1 2 3 4
Negative and positive space Level 1 2 3 4	Choose one of diagonal (tension or movement), vertical (stability, strength) or horizontal (calmness, peaceful) line Level 1 2 3 4	Wet-in-wet for blurry, hazy or distorted areas or several layers to build up form of tonal shading. Level 1 2 3 4

Unit 4 – Appendix B

Conceptual Approaches for Interpreting Meaning In Illustrations and Works of Art

The way we conceptualize and interpret meaning in the world around us often determines the subject matter we choose to include in an illustration or a work of art. There are four main approaches to the interpretation of meaning in any illustration or work of art. We will refer to them using the following terms: Narrative, Character or Cast, Allegorical and Symbolic.

Narrative

· Dictionary Definition: A narrated account; a story. A comment – consisting of or characterized by the telling of the story. To tell, (a story, for example) in speech or in writing. To give an account of the events for example. To give an account or description. (Canadian Dictionary of English Language
ISBN 0-17-604726-3)

· Illustrator’s Definition: Taking a situation, a small section, a scene or an overview, as mentioned in the text/copy of the story and illustrating it. This is the oldest and most common form of illustration.

· Visual Definition /Example: Cover of the novel Moby Dick showing Captain Ahab wrapped up in harpoon ropes around the whale.

· Student Visual Definition Examples: Collect and describe two examples of Narrative illustration in works of art.

Character or Cast

· Dictionary Definition: Cast: To make a search-look. Character: the combination of qualities or features that distinguishes one person, group or thing from another. A distinguishing feature or attribute as of an individual, group or category. (Canadian Dictionary of English Language)

· Illustrator’s Definition: Merely showing the persons and/or objects and/or places discussed without reference to the events.

· Visual Definition /Example: Cover of the novel The Hunchback of Notre Dame showing montage of Quasimodo, Esmerelda, Claude Frollo, Phoebus and Gringoire standing side by side with the Cathedral in the background.

· Student Visual Definition Examples: Collect and describe two examples of Character/Cast illustration in works of art.

Allegorical

· Dictionary Definition: Allegorical: The use of characters or events to represent ideas or principles in the story, play or picture. A symbolic representation. (Canadian Dictionary of English Language)

· Illustrator’s Definition: Invented or real persons are used to represent a concept in a non-literal situation.

· Visual Definition/Example: Satirical Political Cartoons; different personality types depicted as certain animals because they share stereotypical traits.

· Student Visual Definition Examples: Collect and describe two examples of Allegorical illustration or works of art. Produce a composition in your sketchbook that is representative of you.

Unit 4 – Appendix B (Continued)

Symbolic

· Dictionary Definition: Symbolic: One that represents something else by association, resemblance or convention. Relating to or expressed by means of symbols or a symbol. The practice of representing things by means of symbols or of attributing symbolic meaning or significance to objects, events or relationships. (Canadian Dictionary of English Language)

· Illustrator’s Definition: Similar to Allegorical but this convention reduces the allegory to simple non-human or graphic symbols.

· Visual Definition /Example: An article on fire safety with the edges of the pages singed and burned. An article on the erosion of the Canadian Dollar showing large portions of the ‘Loonie’ rusted away as if worn or eaten. An article on the murder mystery: “The Butler Did It” with the illustration depicting a noose, a knife, and an axe.

· Student Visual Definition Examples: Collect and describe two examples of Symbolic illustration or works of art (i.e., Pandora’s Box: Produce rough drawings of symbols and images that represent the secrets and memories that the box contains).

Art Historical References

Narrative: Massacio, The Tribute Money, c1427, Fresco. Jan Steen, The Feast of St Nicholas, c1660-65. Jean-Baptiste Greuze, The Village Bride, 1761, Oil on Canvas, Honore Daumier, The Third Class Carriage, c1862, Oil. Gustave Courbet, A Burial at Ornans, c1849, Oil. M.K. Egyptian, Voyage to the Land of Punt, wall relief, painted.

Character or Cast: (portraits) Leonardo da Vinci, Mona Lisa, c 1503-05 Oil on Panel. Diego Velsaquez, Pope Innocent X, 1650, Oil on canvas. Frans Hals, Malle Babbe, c 1650, Oil on canvas. Theodore Gericault, The Madman, 1821-24, Oil on canvas. Yousuf Karsh, Winston Churchill, 1941, Photograph

Allegorical: Sandro Botticelli, The Birth of Venus, 1480, tempera on Canvas. Agnolo Bronzino, Allegory of Venus, c.1546, Oil on panel. Peter Paul Rubens, The Garden of Love, c.1638, Oil on canvas. Jan Brueghel The Elder, Allegory of Earth, c.1618, Oil on canvas. Sir Joshua Reynolds, Mrs Siddons as the Tragic Muse, 1784, Oil on canvas. Jacques-Louis David, Oath of the Horatii, 1784, oil on canvas. Norval Morriseau, Warrior with Thunderbirds, 1973.

Unit 4

Appendix C

Composition

The organization and orderly arrangement of the Elements of Art (line, shape, colour, form, texture and space) is a challenge that creative people deal with both consciously and intuitively. The analysis of composition can become a rigid discipline that confines artist and public or it can become a stepping stone for greater interpretation, knowledge, spontaneity and individuality.

Realistic/Representational Composition

Dictionary Definition: Realistic: Tending to or expressing an awareness of things as they really are. The representation in art and literature of objects, actions, or social conditions as they actually are without idealization or presentation in the abstract form. (Canadian Dictionary of English Language
ISBN 0-17-604726-3)

Illustrator’s Definition: Realistic/Objective: utilizing real objects (something that actually exists) which are placed in the composition in a seemingly natural way.

Abstract Composition

Dictionary Definition: Abstract: Considered apart from concrete existence. Not applied or practical; theoretical. Having an intellectual and affective artistic content that depends solely on intrinsic form rather than on narrative content or pictorial representation. (Canadian Dictionary of English Language)

Illustrator’s Definition: Abstract: a simplification or modification of real objects so that basic characteristics can be discovered even though they may be re-organized. Design characteristics begin to dominate.

Non-Representational Composition

Dictionary Definition: Non-Representational: a style of art in which natural objects are not represented realistically. (Canadian Dictionary of English Language)

Illustrator’s Definition: Non-Representational: the negation of objective realism; forms shapes and colours which are unrelated to real life are utilized. Compositional construction may incorporate highly irregular or mathematically influenced sensibilities of organization.

Unit 4: Appendix D

Six Steps To Consider When Creating A Composition

Step 1: Select a Theme/Subject

Illustrator’s Definition: Images to appear in the composition, i.e., geometric shapes, human figure

Step 2: Research the topic, concept, idea or theme

Illustrator’s Definition: Use sketchbook as repository for magazine articles, clippings, and sketches

Step 3: Create a Centre of Interest

Illustrator’s Definition: The focal point of the composition.

Centre of Interest: Where the main focus of the composition lies. It includes the main object, Subordinate and accessory objects.

Subordinate: Objects containing elements, which lead the eye through the drawing to the focal point.

Accessory: Those objects, which tend to complete the final drawing by reinforcing the subordinate.

Focal Point: An imaginary point to which all relevant pictorial elements are arranged for accentuation. An imaginary point to which the eye is led or focused. A composition can have more than one focal point, although there is always one that is dominant. Proper placement and handling of these focal points by themselves or in combination is important in creating an exciting image with maximum viewer movement.

Visual Definition /Example/How: How do you make one part stand out from another? (a) Use a bright colour. (b) Contrast: Light against dark, dark against light (c) Less vs. More: detailed image vs. plain background and vice versa. (d) Size: Large objects amongst small objects and visa versa.

Step 4: Maintain Visual Balance

Illustrator’s Definition: Symmetrical Balance (Formal): Duplicating the same pictorial elements on either side of the composition. How similar parts of a design strive for equal attention.

Visual Definition /Example/How: Where images of equal size, shape, value (lightness or darkness) or number, are positioned on either side of the composition. How similar parts of a design strive for equal attention

Illustrator’s Definition: Asymmetrical Balance (Informal). Pictorial elements are combined to equal other combinations of dissimilar elements on either side of the composition. How dissimilar parts of a design are arranged to maintain a comfortable sense of balance.

Visual Definition /Example/How: Where images of unequal size, shape, value (lightness or darkness) or number, are positioned on either side of the composition. How dissimilar parts of a design are arranged to maintain a comfortable sense of balance.

Step 5: Movement/Implied

Illustrator’s Definition: The use of lines, similar shapes, colours, textures and patterns to carry the eye into, through and around the composition to imply either regular or irregular rhythm.

Visual Definition /Example/How: (a) by using directional line, (b) through the repetition of shapes, colours, textures, etc (c) by the placement of lines, shapes, colours, textures, etc

Step 6: Space

Illustrator’s Definition: The distance or area between around, above, below, and within things. All objects, rendered or real, take up space. Successful compositions consider the use of spatial devices such as negative or positive space, overlapping shapes, size variation of shape.

Visual Definition/Example/How: Successful compositions consider the use of spatial devices such as negative or positive space, overlapping shapes, size variation of shape, focus on detail, placement of shapes, intensity and value of foreground and background shapes, as well as linear perspective to convey the intended message.

Unit 4: Appendix E

Literary Interpretation

Name_______________________

Viewing visual information and perceiving meaning occurs on multiple levels. The construction and conceptualization of artwork and illustration can have four main approaches: narrative, character or cast, allegorical, and symbolic.

Your objective is to investigate through discussion research, reading and drawing how artists use narrative, character or cast, allegory or symbolism to convey meaning.

q examine a nineteenth-century/or selected passage, reading it for meaning on multiple levels. Contemplate the selection in order to gain a sense of appreciation for the writer’s intentions.

q In pairs or groups discuss the passage. Reflect on and analyse the intentions, devices, developments, and interpretations of the passage.

q Through perceiving, describing, analysing and interpreting make an informed judgment about which approach (e.g., Narrative or Symbolic, etc.) best suits your intentions as an artist.

q In your drawing journal/sketchbook, interpret (using thumbnail sketches and finished roughs) the literary passage in ways that challenge you to extend the theme or concept in new directions and take risks in exploring ideas.

q Careful consideration should be given to the formal/compositional concerns in these working drawings. Think about how composition informs the main idea.

q Experiment with ideas, styles and materials.

q Select a drawing device (e.g., cartooning, pointillism, crosshatching) that informs the decision-making and problem solving ideas represented in the work.

q Create your composition.

Complete the final work of art purposefully.

Examining Artwork Summary Sheet

1. Initial Reactions: Respond spontaneously. What do you see? How does the artwork make you feel? What attracted you to the work of art?

2. Description: The size of the work, medium, and process. What are the subject, object and details. How the Elements of Art are used in the work: Line, Colour, Texture, Shape, Form, Space.

3. Analysis: A focus on the work’s Compositional Elements. Looking at the way the Principles of Design, Balance, Variety, Rhythm, Proportion, Emphasis, Harmony, Movement, Unity are used to influence, inform, and organize the Elements of Line, Colour, Texture, Shape, Form, Space. How are the Elements and Principles organized in the work of art?

4. Interpretation: A focus on the works content. A personal reflection: What is the intended or implied message? Consider the following: theme, ideas, narrative, cast or character, allegory, symbolism, cultural context, associations, issues, imagination.

5. Judgement: A focus on whether the work succeeds. An informed reflective activity. Is this a successful work of art? Consider your Aesthetic view: an idea or school of thought, on what is important in a work of art. What is most important for you? Is it the Subject view: where the work depicts reality with life like subjects. Compositional view: where what is most important is the artworks compositional arrangement. Content view: where what is paramount is the content, the mood, or the feeling that an artwork communicates.

6. Historical/Contemporary Research: A focus on research and background information on the artist and the work/s

Unit 4: Appendix F

Guided Viewing Exercise Checklist

	Title Of Artwork	Romantic	Realistic
	1. How did the artist use the elements of design (i.e., colour, line shape/form, texture, space, value)?
2. How did the artist use the principles of design (i.e., balance, unity, movement, contrast/harmony, repetition (pattern, rhythm), variety, emphasis)?
	3. What type of subject matter is presented?
	4. a) How is the subject matter portrayed? b) Is it realistic or interpreted?
	5. What type of stylistic devices does the artist use to convey his/her message?
	6. Is there a moral overtone or value statement being made?
	7. Is propaganda evident?
	8. Has the artist used symbols or symbolism to reinforce the message?
	9. How would you generally classify this painting?

Final Question: How do you perceive the “story” to be told? (narrative, symbolic, conceptual, satirical). Support your answer with reasons.

Unit 4: Appendix G:

Student Self Assessment Checklist/Anecdotal Reflection and Analysis

Name: _______________________________________ Date: ______________________

Project/Activity: _________________________________________________________________

Circle the appropriate ranking

	Level 1 sometimes	Level 2 occasionally	Level 3 usually	Level 4 always
I applied conceptual ideas from a range of sources in developing my work.
I experimented with ideas, styles and materials.
I demonstrated effective/purposeful use and understanding of the Elements and Principles of Design
I have analysed and implemented appropriate compositional devices.
Through perceiving, describing, analysing and interpreting I make an informed judgment about which approach, (i.e., Narrative or Symbolic, etc.) best suits my intentions as an artist.
I demonstrated an understanding of how the use of Narrative, Symbol, Character, or Allegory devices can imply meaning in my work.

Reflection and Analysis

1. Clearly outline the main concepts and ideas of your activity. What were your intentions? What were you trying to express?

2. Explain the methods and techniques you used to develop your concepts (i.e., research, mind maps, discussion, reflection, etc.)

3. What, if any, were some of the unforeseen challenges you had to resolve while completing your work. Explain the decisions and choices you made to solve your challenges.

4. What did you learn from this specific activity?

5. What would you change or do differently in your assignment if you had to do it again?

6. Suggest/invent/outline a new assignment/challenge that might result from the one in which you just participated.

Unit 4: Appendix H

Final Project Rubric

Name _____________________________Date _______________

Criteria	Level 1 (50-59%)	Level 2 (60-69%)	Level 3 (70-79%)	Level 4 (80-100%)
Thinking/ Inquiry
Ability to research and critically analyse a variety of information	- demonstrates limited research and analysis skills	- demonstrates some research and analysis skills	- demonstrates considerable research and analysis skills	- demonstrates thorough research and analysis skills
Interprets and understands that figures and objects can imply a multiplicity of meanings	- demonstrates a limited understanding of how figures and objects imply meaning	- demonstrates some understanding of how figures and objects imply meaning	- demonstrates considerable understanding of how figures and objects imply meaning	- demonstrates thorough understanding of how figures and objects imply meaning
Analyses and demonstrates the appropriate selection of narrative, character/cast, allegorical or symbolic for theme chosen	- demonstrates limited critical decision making skills in the selection	- demonstrates some critical decision making skills in the selection	- demonstrates considerable critical decision making skills in the selection	- demonstrates thorough critical decision making skills in the selection
Theory Knowledge/ Understanding
Demonstrates a knowledge of one of the four conceptual approaches	- limited evidence of knowledge of one of the four conceptual approaches	- some evidence of knowledge of one of the four conceptual approaches	- considerable evidence of knowledge of one of the four conceptual approaches	- thorough evidence of knowledge of one of the four conceptual approaches
The use of the principles and elements of design support the concepts and ideas expressed through the artwork	- limited evidence of support	- some evidence of support	- considerable evidence of support	- thorough evidence of support
Creation/ Application
Evidence of the ability to synthesize a variety of historical, symbolic, and technical resources in the creative process	- limited evidence of the synthesis process needed to create original works	- some evidence of the synthesis process needed to create original works	- considerable evidence of the synthesis process needed to create original works	- thorough evidence of the synthesis process needed to create original works
Evidence of the design process	- limited evidence of the design process	- some evidence of the design process	- considerable evidence of the design process	- thorough evidence of the design process
Extends the theme or concept in a new direction and takes risks in exploring ideas	- limited risk taken	- some risk taken	- effective risk taken	- Fresh approach to theme – strong risk taken
Techniques in chosen medium are developed or explored fully	- student’s artwork demonstrates limited understanding of the capability of the medium chosen	- student’s work demonstrates some understanding of the use of the medium chosen	- student’s work demonstrates considerable understanding of the use of the medium chosen	- student’s work demonstrates exceptional understanding of the use of the medium chosen
Composition considerations	- limited	- moderate	- effective	- exceptional
OCSGD
Thinks reflectively and creatively to evaluate situations and solve problems	- limited evidence of reflective and creative thought in solving the problem posed	- some evidence of reflective and creative thought in solving the problem posed	- considerable evidence of reflective and creative thought in solving the problem posed	- extensive evidence of reflective and creative thought in solving the problem posed
Thinks critically about the meaning and purpose of work in the integration of a social justice theme	- limited evidence of analysis regarding the social justice theme	- some evidence of analysis regarding the social justice theme	- considerable evidence of analysis regarding the social justice theme	- advanced evidence of analysis regarding the social justice theme

Note: A student whose achievement is below level 1 (50%) has not met the expectations for this assignment or activity.

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