Course Profile Visual
Art, Grade 9 open, Catholic
Unit # 3
Activity 1½Activity 2½Activity 3½Activity 4½Activity 5½Activity 6
Title: Sculpture is
Another Dimension
Time: 22 hours
Unit Developer(s)
Mary Humphries, Wellington Catholic District School Board
Kitty Strite Gatto, Waterloo Catholic District School Board
Development Date: March 1999
In the sculpture unit students will explore opportunities to understand various forms and apply sculptural techniques strategies to a variety of media such as clay, plaster, papier-mache and found materials. Students will demonstrate an understanding of three-dimensional applications of the elements and principles of design both in their own work and that of sculptors throughout history. The main focus will be personal reflections about the human experience, about responsibilities to the environment and about the transformation from the ordinary to the extraordinary.
Strand(s) & Expectations
Ontario Catholic School Graduate Expectations:
The Catholic School Graduate:
• creates, adapts, evaluates new ideas in light of the common good; 3b
• thinks reflectively and creatively to evaluate situations and solve problems, 3c
• demonstrates flexibility and adaptability, 4b,
• applies effective communication, decision-making, problem-solving, time and resource management skills, 4f,
• achieves excellence, originality, and integrity in one’s work and supports these qualities in the work of others, 5g
• ministers to the family, school, parish, and wider community through service, 6e
• respects and affirms the diversity and interdependence of the world’s peoples and cultures, 7f
• respects and understands the history, culture heritage and pluralism of today’s contemporary society, 7g
• respects the environment and uses resources wisely, 7i
• contributes to the common good, 7j
Strands: Theory, Creation, Analysis
Overall Expectations:
At the end of Grade 9, students will:
• use materials and processes to create art objects that express their intent (VCV.01X)
• apply the elements and principles of design (VCV.02X)
• produce two-and three-dimensional artworks, using a variety of materials, tools, processes, and technologies (VCV.03X)
• apply the creative process in their work (VCV.04X)
• through critical analysis, explain the function of their own artworks and those of other cultures (VAV.02X)
• demonstrate an understanding of the connections between art and cultural identity or context, (VAV.03X)
• apply an understanding of the elements and principles of design to personal, historical, and contemporary artworks (VTV.01X)
Specific Expectations: VC1.01X, .02X, .O3X; VC2.O2X, .06X; VC3.01X, .02X; VA1.02X, .03X; VA2.03X; VT1.O1X, .02X; VT2.02X; VT3.02X
Activity Titles (Time & Sequence):
Teachers will choose two or three from the following the six units. 420 min =7 hours
1. Bas-relief (420 min.) 4. Modelling (420 min)
2. Carving (420 min.) 5. Assembling (420 min)
3. Masks (420 min.) 6. Sculpture in Motion (420 min)
Unit Planning Notes:
Teacher will need:
• To obtain moist clay, plaster, papier-mache supplies, appropriate tools, modelling clay, self-hardening clay, found objects, heavy gauge wire, access to a kiln, heavy gauge wire access to a kiln and studio maintenance materials
• To obtain art reproductions, books on sculptural techniques and art history, access to the Internet (web sites) and schedule time in the school resource centre
• To provide gloves (latex and non-latex), masks for mixing plaster and oxide
• To organize classroom for storage of works in progress
• To plan location and schedule final sculpture show
• To plan accommodations and obtain resources for special needs students
• To plan a field trip to an art gallery; local artists’ studios
• To invite local guest artists to discuss their wok and careers (Choices in Action)
Prior Knowledge Required
Students will:
• have a basic understanding of the principles and elements of design as they relate to 3-dimensional art
• have some understanding of the construction and function of 3-dimensional design
• be able to identify strengths and areas of improvement in their own works
• be able to describe how artists from different historical periods and cultures have used similar materials, tools and principles of design (refer to Grade 8 Visual Arts Expectations)
Teaching/Learning Strategies:
1. The teacher will:
• review Grade 8 Visual Art sculptural expectations
• demonstrate techniques
• illustrate using slides, reproductions and videos
• direct conference, critique and self reflection (drawing journal) activities
2. The student will:
• research independently and in small groups
• create independently and collaborate in groups
• peer teach and peer critique
• participate in comparison studies
Assessment/Evaluation:
Formative Assessment:
• Reflection—learning logs, drawing journals (rubrics, anecdotal comments)
• Observation—formal teacher observation, informal teacher observation (checklists, rubrics)
• Conferencing—student-teacher conferencing, peer conferencing, roving conferencing (probe questions, checklists)
• Paper and Pencil—teacher created tests
Summative Evaluation:
• Performance Assessments–exhibitions, projects (rubrics, checklists, peer assessments)
Resources
Books:
Bazin, Germain. A Concise History of World Sculpture. New York: Alpine Fine Arts Collection, Ltd. 1987
*Bennett, Bryan and Constance Hall. Discovering Canadian Art, Learning the Language. Scarborough, Ontario: Prentice-Hall Canada Inc., 1984
Chapman, Laura H. Art Images and Ideas. Worchester, Massachuttes: Davis Publication, Inc., 1992
Harris, Bess and Colgrove, R.G.P. Lawren Harris. Toronto: The Macmillan Company of Canada Ltd. 1976
Hobbs, Jack and Salome, Richard. The Visual Experience. Worchester, Massachusetts: Davis Publication, Inc. 1995
*Janson, H. W. and Janson, Anthony F. A Basic History of Art.. Toronto: Prentice Hall, Inc. 1997
*Leland, Nila. The Creative Artist, A Fine Artist Guide to Expanding Your Creativity. Cinncinnati: F & W Publications Inc. 1993
*Lucchesi, Bruno. Modelling the Figure in Clay. New York: Watson-Guptil Publications, 1996
MacGreggor, Ron, Constance-Hall, Bennett, Bryan, Calver, Ann. Canadian Art, Building a Heritage. Scarborough, Ontario: Prentice Hall Canada, 1987
Mazzone Domenico. Sculpting. Laguna Hills, California: Walter Foster Publishing, 1994
Macnair, Peter, L., Hoover, Alan L., Neary, Kevin. The Legacy. Vancouver: Douglas & McIntyre, 1984
McGraw, Sheila. Papier-Mache for Kids. Willowdale: Firefly Books Ltd. 1991
*McGraw, Sheila.Papier-Mache Today. Willowdale: Firefly Books Ltd. 1990
Mittler, Gene. Art in Focus. Mission Hills, California: Glencoe Publishing Co., 1989
*Nigrosh, Leon. Low Fire Other Ways to Work in Clay. Worchester, Massachusetts: Davis Publications, Inc., 1981
*Sapiro, Maurice.Clay: Handbuilding. Worchester, Massachusetts: Davis Publications, Inc., 1997
Schuman, Jo. Art From Many Hands, Multicultural Art Projects. Worchester, Massachusetts: Davis Publications, Inc., 1981
*Sivin, Carole. Maskmaking. Worchester, Massachusettes: Davis Publication, Inc. 1986
Slobodkin, Louis. Sculpture Principles and Practice. New York: Dover Publications, 1983
Topal, Cathy W. Children, Clay and Sculpture. Worchester, Massachusetts: Davis Publications Inc., 1996
Wyatt, Gary. Spirit Faces. Vancouver: Douglas & McIntyre, 1994
Other:
Slides and reproductions as needed in activities. Slides of First Nations Masks(Museum of Man, Hull); Slides of Inuit sculptures; Sculpture, a Resource Kit for Teachers. AGO, 1990; Arts in the Classroom, A Teacher’s CD Rom Resource Toronto Catholic District School Board/C.C.C., Toronto, 1998.
Videos:
Lawren Harris; Native
Art of North America; Masks from Around the World; Jacques Lipchitz, Henry
Moore, Pablo Picasso
Websites:
Art Projects from Schoolart---www.schoolart.co.uk
Getty Education Institute for the Arts---www.artsednet.getty.edu/
Guide to Canadian Museums & Galleries---www.chin.gc.ca/Museums/e_museums.html
James Cook University Library Arts teaching resources---www.library.jcu.edu.au
Selected Art Resources: Canadiana---www.amazon.com
WWW Virtual Library: Museums in Canada---www.icom.org/vlmp/canada.html
*key resource
Time: 420 minutes (7 hours)
Description
This activity will use Canadian landscape paintings of Lawren Harris as an inspiration for a bas-relief in clay. The activity will develop a greater understanding of the environment, perspective, the elements and principles of design and clay modelling techniques.
Strands and Expectations
Ontario Catholic School Graduate Expectations:
The Catholic School Graduate:
• demonstrates flexibility and adaptability, 4b,
• applies effective communication, decision-making, problem-solving, time and resource management skills 4f,
• achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others 5g,
• ministers to the family, school, parish, and wider community through service 6e
Strands: Creation, Analysis
Overall Expectations:
At the end of Grade 9, Students will:
• apply the elements and principles of design VCV.02X
• produce two and three dimensional artworks, using a variety of materials, tools, processes and technologies VCV.03X,
• apply the creative process in their work VCV.04X
Specific Expectations:
Students will:
• enhance design devices to create images VC1.03X
• demonstrate an understanding of basic skills and concepts in sculpture VC2.01X
• use critical analysis to examine expression in student and professional artworks VA1.03X
Planning Notes:
Materials/Considerations needed to construct the bas-relief in clay:
• a low-sided cardboard box (25 cm x 15cm x 5 cm) lined with a light weight plastic (dry cleaner plastic);
• moist clay stored in a sealed plastic bin;
• use proper clay construction techniques (e.g. wedging, joining techniques);
• various tools with which to sculpt (e.g. wooden clay tools, plastic knives, any dull tool);
• prevent a clay build up in sink trap, always rinse hands, tools and rags in a pail of water which can be dumped outside;
• dry slowly and completely before firing in the kiln following suppliers instructions
• powdered iron or manganese oxide mixed with water to form a wash for patina on bisque clay; always wear a mask when mixing oxides;
• have students scrub excess oxide from bisque plaque in a pail of water rather than under running water to conserve clean water; do a second firing, remaining oxide will emphasize depth;
• always use protective gloves when working with oxide, this prevents staining of hands (some people experience a rash from oxides);
• have a pump container of hand lotion for student use, since clay naturally dries the skin
• an understanding of the elements and principles of design
• a knowledge of Canadian geography
• an
understanding of the power of three-dimensional work to communicate ideas and
emotions
1. The teacher will:
• review Grade 8 Visual Art sculptural expectations;
• show examples of landscape paintings by Lawren Harris illustrating aerial and linear perspective and examples of historically significant bas-reliefs;
• engage the students in a discussion of the responsibility of people to preserve and cherish the environment for the future; references will be made to current issues such as destruction of animal habitats, acid rain and nuclear waster dumping;
• discuss the power of the artist as a messenger for environmental conservation;
• explain Harris’ search for spiritual fulfilment through theosophy
2. The student will:
• make a journal entry and/or drawings that relate to spiritual awareness in God’s creations;
• create a personal landscape drawing clearly illustrating background, middleground and foreground
3. The teacher will:
• demonstrate the bas-relief techniques in clay using a slab (25cm ´ 15cm ´ 3cm) and additive, subtractive, modelling , textural techniques and display options (two holes and a piece of leather)
• explain all safety precautions for appropriate use of tools and processes
4. The student will:
• translate their landscape drawing into a clay bas-relief using simple tools and teacher-demonstrated techniques
5. The teacher will:
• demonstrate various surface finishing techniques (oxides, shoe polish and acrylic paint) for the fired bas-relief
6. The student will:
• choose and apply a finishing technique and will be able to explain reasons for his/her choice
• organize a final exhibit and critique of their work; exhibit could be installed in a community venue such as a seniors home
Assessment/Evaluation
1. assess drawing skills; teacher checklist. drawing journal (VC1.03X)
2. assess clay modelling skills; self/peer/teacher rubric (VC2.01X)
3. evaluation of student sculpture display by community, peer comment log (VA1.03X)
Resources
Janson, H.W. and Janson, A.F., A Basic History of Art. Prentice Hall, Inc., 1997
Slides and reproductions of the landscape paintings of Lawren Harris
Slides of examples of Egyptian bas-relief
Elements and Principles of Design Poster available from Sax Canada
Local public examples of bas-relief, local clay suppliers and local guest sculptors
Arts in the Classroom, A Teacher’s CD Rom Resource, T.C.D.S.B./C.C.C., Toronto:1998
Video Lawren Harris Websites – see unit list
Accommodations
• peer assistance for difficult techniques
• students may press a variety of objects into a clay slab to create a relief; some objects will be pushed in deeper and others left more on the surface to create the feeling of dept
Appendix I, Teacher Rubric Appendix J, Peer Assessment
Time: 420 minutes
Description
This activity will use the mask as a communicator. Students will specifically look for inspiration to the masks of the Canadian First Nations, to the masks found in their own ethnic history, and to theatrical and sports masks. This activity will develop an understanding of the power and function of the mask and a knowledge of papier-mache techniques.
Strands and Expectations
Ontario Catholic School Graduate Expectations:
The Catholic School Graduate:
• demonstrates flexibility and adaptability 4b,
• applies effective communication, decision-making, problem-solving, time and resource management skills 4f,
• respects and affirms the diversity and interdependence of the world’s peoples and cultures 7f,
• respects and understands the history, culture heritage and pluralism of today’s contemporary society 7g,
Strands: Theory,
Creation, Analysis
Overall Expectations:
At the end of Grade 9, students will:
• apply the elements and principles of design VCV.02X,
• produce two and three dimensional artworks, using a variety of materials, tool, processes and technologies VCV.03X,
• apply the creative process in their work VCV.04X.
• through critical analysis, explain the function of their own artworks and those of other cultures VAV.02X
• demonstrate an understanding of the connections between art and cultural identity or context VAV.03X
Specific Expectations:
Students will:
• compile a collection of visual resources VC1.02X,
• demonstrate the ability to create representational, abstract and non-objective artworks that convey ideas or concepts VC2.06X;
• demonstrate an understanding that the nature of art varies from culture to culture VA2.03X;
• understand and apply the elements and principles of design as expressive components in their personal creative works VT1.02X.
Planning Notes
Materials/Considerations needed to construct a papier-maché mask:
• many mould options are available (the balloon held snugly in a box, with modelling clay added for features, newspaper and masking tape, bristol board strips stapled to fit the head, and supported with newspaper, purchased mould etc.)
• papier-maché is a mixture of glue and paper; (flour and water, white glue and water or wallpaper paste; recycle paper from expired telephone directories)
• instant papier-maché pulp although expensive is useful for some details
• it is important to apply several layers and let it dry in between layers; in conjunction with this project plan other activities in colour, design and dramatic presentation
• a final layer of paper towelling creates a smooth look
• paint with tempera or acrylic paint applying a final coat of latex polyurethane
• using safety precautions, use a hot glue gun to apply decorations
• in the final presentation incorporate music and story-telling
Prior Knowledge Required
• know how the elements of design are used to create balance, symmetry
• have an understanding of how to use the expressive qualities of the elements and principles of design and effectively communicate an idea or emotion
• have some knowledge of the culture of Canada's First Nation Peoples
1. The teacher will:
• review Grade 8 Visual Art sculptural expectations.
• explain the importance and spiritual traditions of the mask in Canadian First Nations culture, African culture and Oceanic culture.
• show examples of various masks from different cultures and explain the sacred and powerful beliefs incorporated in the mask.
• discuss the purpose of the mask in contemporary society (theatre, sport, Halloween).
2. The students will:
• develop in small groups possible ways to express a theme (e.g., emotions, transformation, fantasy) through facial features and record ideas in their drawing journals.
• discuss the power and responsibility of the mask creator to influence attitudes and beliefs.
3. The teacher will explain the elements and principles of design addressed in mask design focusing on balance, symmetry, proportion, emphasis and contrast.
4. The student will create their thematic(contemporary, mythological, futuristic) mask maquette using modelling clay.
5. The teacher will explain and demonstrate basic mask construction using a mould and papier-maché.
6. The student will:
• create their thematic mask using a mould and papier-mache.
• paint and decorate their mask.
• present their mask to the group illustrating their theme respecting the values and the spiritual beliefs of other cultures.
• present their masks to a history or theatre arts class.
1. collection of resources in drawing journal; self/peer/teacher checklist (VC1.02X)
2. ability to develop theme; self/peer checklist, teacher rubric, student/teacher conferencing (VC2.06X)
3. an understanding of modelling papier-maché techniques/decorating techniques; self/peer/teacher checklist, rubric; teacher-made(standards referenced) tests, roving conference (VA2.03X, VT1.02X) (Appendix D,I,J)
Macnair, Peter L., Hoover, Alan L., Neary, Kevin. The Legacy. Vanvouver: Douglas & McIntyre, 1984
McGraw, Sheila. Papier-Maché for Kids. Willowdale: Firefly Books Ltd. 1991
McGraw, Sheila. Papier-Maché Today. Willowdale: Firefly Books Ltd. 1990
Miller, Jackie. Maskmaker. VHS Video, SAX of Canada
Rogers, E.S. False Face Society of the Iroquois. ROM booklet. University of Toronto Press 1983
Sivin, Carole Maskmaking. , Worchester, Massachusettes: Davis Publications, Inc., 1986
Wyatt, Gary Spirit Faces. Vancouver: Douglas & McIntyre, 1994
Slides of First Nations Masks available from the Museum of Civilization, Hull, Quebec
Arts in the Classroom, A Teacher’s CD Rom Resource.. T.C.D.S.B./C.C.C., Toronto: 1998
Videos Native Art of North America, Masks from
Around the World
Websites – see unit resource list
• many special needs students will need assistance manipulating the mould and papier-mache; always have peer assistance with a hot glue gun
• special needs students may use papier mache strips or mulch over a white plastic mask or other found mask
Appendix C, Portfolio Log(ongoing)
Appendix D, Reference File
Appendix I, Drawing Activities/Journal, Teacher Checklist
Appendix J, Peer Assessment
Title: Plaster Carving
Time: 420 minutes
Description
This activity will require a block of plaster which students have formed into an organic shape as an inspiration for a carved sculpture. Students will take the organic form and transform it into an abstract, non-objective or realistic carving that focuses on shape, texture and balance.
Ontario Catholic School Graduate Expectations:
The Catholic School Graduate:
• applies effective communication, decision-making, problem-solving, time and resource management skills 4f,
• achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others 5g,
• respects and understands the history, cultural heritage and pluralism of today’s contemporary society 7g
Strands: Creation, Analysis
Overall Expectations:
At the end of Grade 9, students will:
• apply the elements and principles of design VCV.02X,
• produce two and three dimensional artworks, using a variety of materials, tools, processes and technologies VCV.03X,
• apply the creative process in their work VCV.04X.
Specific Expectations:
Students will:
• demonstrate an understanding of basic skills and concepts in sculpture; VC1.02X,
• use the appropriate art vocabulary related to materials, processes, and technologies; VC3.01X,
• use critical analysis to examine expression in student and professional artworks VA1.03X.
Planning Notes
Materials/Considerations to create a carved sculpture:
• mix plaster and water using safety precautions and carefully follow instructions; vermiculite/plaster mixture is another option
• allow plaster to start curing and then pour using a plastic container into a plastic bag (litre milk bag, seal with a twist tie) for each student
• have each student slightly manipulate the bag and allow to set
• an empty milk cartoon, slightly crushed will also give a good shape
• if plaster breaks encourage problem solving and utilize pieces
• allow excess plaster to harden and then dispose in the garbage
• a variety of carving tools can be used, but rasps should be available
• while carving place the sculpture on a damp cloth to keep the dust to a minimum and facilitate clean-up
• only dry plaster should be sanded; speed drying in a very low heat oven
• finished dry piece can be given a patina with shoe polish or spray paint using proper ventilation and masks
• forms can be given a draped look by covering the form with fabric strips permeated with plaster
Prior Knowledge Required
• an understanding of the elements and principles of design as they relate to sculpture
• some knowledge of techniques used to create a sculpture in the round
Teaching/Learning
Strategies
1. The teacher will:
• review Grade 8 Visual Art sculptural expectations
• explain and illustrate the terms organic, abstract, non-representational and realistic forms and show sculptural examples (utilize Appendix K for personal response to artwork)
2. The student will identify organic, non-representational and realistic objects in their environment.
3. The teacher will demonstrate plaster mixing and manipulating wet plaster in a plaster bag to obtain a simple organic form.
4. The students will prepare the plaster form.
5. The teacher will:
• discuss aboriginal beliefs and the role of the Creator who allows us to release the hidden form by direct carving; show and discuss slides of Inuit soapstone sculptures, Henry Moore sculptures and Michelangelo’s Slaves
• develop the idea of releasing the hidden form through visualization (package several simple forms in fabric held securely with elastics and try to imagine the form within; have students handle smooth stones to visualize the form within)
6. The students will:
• sketch in their drawing journal a model draped in a tube of jersey fabric, developing a type of ‘Henry Moore’ figure drawing, reinforcing the ‘form within’ concept
• draw their plaster organic shapes and relfect on the ‘form within’, keeping in mind realistic and non-representational forms
7. The teacher will demonstrate safe carving techniques.
8. The students will carve their organic plaster forms to release their sculpture from within the plaster
9. The teacher will demonstrate different finishing techniques (sanding, paint, shoe polish, mounting on a base)
10. The students will:
• discuss and then apply the appropriate finish to their sculpture
• creatively display their finished masks
Assessment/Evaluation
1. understanding of vocabulary; teacher created test (VC3.01X)
2. check for appropriate process; roving conferencing, peer conferencing (VC1.02X)
3. display of finished sculptures: peer/community comment log, rubrics ( VA1.03X)
(Appendix D, Reference File, Appendix I, Teacher Rubric, Appendix J, Peer Assessment)
Resources
Books
Janson. H.W. and Janson, A.F. A Basic History of Art. Toronto: Prentice Hall, Inc., 1997
Slides of Inuit Soapstone Sculptures;Art Gallery of Ontario Sculpture A Resource Kit for Teachers 1990
Slides reflecting abstract, non-objective and realistic sculpture throughout history including the moderns such as Henry Moore, Jean Arp, Constantin Brancusi, Jacques Lipchitz and Barbara Hepworth
Videos: Jacques Lipchitz, Henry Moore, Pablo Picasso available from the AGO
CD ROM Arts in the Classroom. Toronto Catholic District School Board 1998
Websites – see unit website list
• Since very little carving, if any is needed, special needs students can experience great success. Use plastic carving tools. Finishing techniques should not create a problem, but always enlist a peer helper if only for motivation and positive reinforcement. If carving is too difficult, give student a pre-shaped organic form in modelling clay to manipulate.
Title: Modeling the
Human Figure
Description:
This activity will use the human condition as inspiration for modeling in clay, self hardening clay or other modelling materials. It will increase understanding of the importance of stylized and realistic human form in the spiritual and social life of many cultures. It will develop a greater understanding of the human form and the technique of creating free standing sculptures by modeling soft materials. Students will begin to reflect on who they are, and what role the human form plays in the analysis of specific examples from art history and contemporary works.
Strands and
Expectations
Ontario Catholic
School Graduate Expectations:
The Catholic School Graduate:
• creates, adapts, evaluated new ideas in light of the common good, 3b
• applies effective communication, decision-making, problem-solving, time and resource management skills, 4f
• achieves excellence, originality and integrity in one's own work and supports these qualities in the work of others,5g
• respects and affirms the diversity and interdependence of the world's peoples and cultures, 7f
Strands: Theory, Creation, Analysis
Overall Expectations:
At the end of Grade 9 students will:
• produce three-dimensional art works, using a variety of materials, tools, processes, and technologies VCV.03X
• apply the creative process in their work VCV.04X
• apply an understanding of the elements and principles of design to personal, historical, and contemporary artworks VTV.01X
Specific
Expectations:
Students will:
• demonstrate appropriate selection of tools, materials, processes, and technologies for use in their art production, VC1.01X
• demonstrate an understanding of basic skills and concepts in sculpture, VC2.02X
• understand how to apply criteria for ongoing review and evaluation of processes and products, VC3.02X
• understand and apply the elements and principles of design to their own art, to historical artworks and to the natural and constructed environments, VTI.01X
• describe how some of their own studio activities are influenced by historical artworks, VT3.02X
Planning Notes
• stress specific design elements (e.g. form, positive and negative space, texture) and principles
• assemble appropriate media, tools, equipment (e.g., access to kiln, clay traps on drains)
• clay is the preferable medium. If used, teacher will explain the implications of proper clay building and modeling techniques (e.g. wedging, proper joining techniques, care in preventing air bubbles) on the firing process
• figures could be 5"–15" high depending on medium used. Clay to be fired should be hollowed, with maximum 1" thickness, allowed to fully dry (e.g., 5-8 days) before firing
• patina can be applied to clay using oxides (fired) or shoe polish
• if using clay, avoid creating excess clay dust and take safety precautions when cleaning up
• additional possible sources of figures include figures from famous 2-D artwork as inspiration for 3-D modeling
• recognition of how an artist uses the expressive qualities of the elements and principles of design to affect the viewer. Review for the purpose of this lesson.
• recognition that modern artists are often influenced by designs from other periods and cultures
• some knowledge of basic proportions of the human figure
1. The teacher will:
• review Grade 8 Visual Arts sculptural expectations
• show examples of realistic and stylized human figures from various historical periods and cultures (the Americas, Africa, Egypt, classical period, Gothic,modern)
2. The student will:
• investigate the importance of the 3-dimensional human figure to the spiritual and social life of various historical societies through viewing of slides and discussion.
• in small groups, develop a specific theme (e.g. youth, the elderly, work, leisure, emotions) arising from investigations on "The Human Condition"
3. The teacher will demonstrate modeling techniques for clay, self hardening clay or plasticine.
4. The student will:
• retrieve examples of figures in various poses from their drawing journals (student models) and share with classmates
• create a human figure, either stylized or realistic, decorated or textured figure based on chosen theme, using modeling and additive sculptural methods. (A maquette may precede artwork, time permitting.)
• organize a culminating exhibition and presentation of all work from the entire sculpture unit.
1. knowledge inventory, quiz for understanding role of 3-D human figure in various artform (VT1.01X)
2. verbal feedback by students to communicate and come to consensus about chosen themes (VC2.02X, VT3.02X)
3. technique log, drawing journal entries (VC1.01X)
4. peer rubric; student demonstration; conferencing (VC2.02X, VT1.01X)
5. peer evaluation at culminating exhibition and presentation for ability to communicate well visually and verbally (VC3.02X)
(Appendices D,E,J,I)
Brommer, Gerald. Discovering Art History Worchester, Massachusetts: Davis Publications, Inc., 1996
Chapman, Laura. A World of Images. Worchester, Massachusetts: Davis Publications, Inc., 1992
Lucchesi, Bruno. Modeling the Figure in Clay.
Mazzone, Domenico. Sculpturing. Laguna Hills, California: Walter Foster Publishing, 1994
Nigrosh, Leon. Low Fire Other Ways to Work in Clay. Worchester, Massachusetts: Davis Publications, Inc., 1980
Sapiro, Maurice. Clay: Handbuilding Worchester, Massachusetts: Davis Publications Inc., 1996
Topal, Cathy W. Children, Clay and Sculpture Worchester, Massachusetts: Davis Publications Inc., 1997
-slides and reproductions of historical and contemporary figurative art from various cultures
– see list of sites in unit resources section
• Instead of individual projects, students will create group projects such as a large nativity scene to be donated to the community, model characters from literature (e.g. poems, plays, novels) or history (Canadian historical and cultural figures).
• Assistant or peer helper will assist special needs students model their chosen image.
• Provide special needs students with a page of shapes that contain body parts (i.e., circle for head). Have student create each shape with assistance of a peer helper. Attach the shapes in an expressive position.
Appendix C, Portfolio Log Appendix D, Reference File Appendix E, Teacher Checklist
Appendix I, Teacher Rubric Appendix J, Peer Assessment
Title: Assemblage:
Creating Art by Recycling
Time: 420 minutes
Description:
This activity will apply the theme of transforming the ordinary into the extraordinary through making personal statements on societial issues. Students will apply the 3-dimensional assemblage technique to recycled and discarded items (e.g. discarded scraps of wood, metal, jewelry, toys, fabric and other personal artifacts) to create shadow boxes or freestanding sculptures. Students will increase their knowledge of principles of design as applied to their own and other twentieth century 3-dimensional art.
Ontario Catholic School Graduate Expectations:
The Catholic School Graduate:
• creates, adapts, evaluates new ideas in light of the common good , 3b
• respects the environment and uses resources wisely, 7I
• contributes to the common good, 7j
Strands: Theory, Creation, Analysis
Overall Expectations:
At the end of Grade 9, students will
• apply the creative process (i.e. perception, exploration, experimentation, production, and evaluation) in their work (VCV.04X)
• apply a framework of critical analysis to their own and acknowledged artworks through participation in a variety of art-viewing strategies (VAV.01X)
• apply an understanding of the elements and principles of design to personal, historical and contemporary artworks (VTV.01X)
Specific Expectations:
Students will:
• demonstrate appropriate selection of tools, materials, processes and technologies for use in their art production (VC1.01X)
• demonstrate an understanding of basic skills and concepts in sculpture (VC2.02X)
• understand how to apply criteria for ongoing review and evaluation of processes and products VC3.02X
• describe the materials used and steps followed in the creation of a particular artwork (VA1.02X)
• apply the elements and principles of design to their own art, to historical artworks and to natural and constructed environments (VT1.01X)
• identify, research and describe visual characteristics and themes found in Canadian and other cultures art (VT2.02X)
• students will gather objects relevant to their personal history or chosen theme
• students will consider base and framing of shadow box or the stability and balance of a freestanding sculpture
• safety precautions must be taken with glue guns, toxic adhesives or spray paint (e.g., masks, adequate ventilation)
• this activity could be an corollary of activities in other appropriate subject areas (e.g., environmental science, geography religion) or community environmental activities (e.g., school-wide recycling, Earth Day)
• presentations of assemblages from discarded objects could be made to appropriate community groups (e.g., service groups, town council) interested in increasing environmental awareness and preservation
• value of recycling as an approach to protecting the natural environment
• understand that art works are organized to create a specific effect
1. The teacher will:
• review Grade 8 Visual Arts sculptural expectations
• explain assemblage as sculpture made by combining discarded objects such as pieces of cardboard, wood, metal, old toys, jewelry
• show images of 3D assemblages from twentieth century artists (e.g., Nevelson Arp, Braque, Picasso, Bill Lishman, Marcel Duchamp)
2. Students will:
• generate ideas for specific themes relating to the human condition in contemporary time with a personal viewpoint (parish/school community, family, friends) and explore how we can communicate ordinary ideas/subject matter into extraordinary concepts
• discuss relevant issues within large group discussion (e.g., tolerance, non-violence, religious belief, poverty, social injustice etc)
• explore the symbolic qualities of a variety of discarded everyday objects, and their own personal objects as they may relate to a chosen theme
• use their drawing journal to record their explorations and conceptual ideas
3. The teacher will:
• explain/demonstrate assemblage techniques, materials and tools required
• stress specific principles of design (e.g., balance, rhythm, harmony)
4. Students will :
• individually or in small groups, create either a relief sculpture in a shadow box, or a free standing sculpture based on their chosen theme about modern society
• stage a culminating exhibition and presentation of all work from the entire sculpture unit.
Assessment/Evaluation:
1. Technique log reviewed by teacher for accuracy (VA1.02X, VC1.01X)
2. Quiz by teacher for knowledge and use of elements and principles of design of 20th century artists examples (VT1.01X, VT2.02X)
3. Drawing journal, technique log reviewed by teacher for visual resources, understanding technical methods and approaches (VC2.02X)
4. Conferencing and student/teacher rubrics (VC2.02X, VT1.01X)
5. Peer evaluation by students, staff and parents at culminating exhibition for communication of ideas and influence by historical works (VC3.02X)
Resources:
Brommer, Gerald. Discovering Art History. Worcester, Massachusetts: Davis Publication Inc., 1996.
Chapman, Laura. A World of Images. Worcester, Massachusetts: Davis Publications Inc. 1992.
MacGregor, Hall, Bennet, Calvert. Canadian Art, Building a Heritage. Scarborough, Ontario: Prentice-Hall Canada, 1987.
Other Websites -see Sculpture Unit resource list
Students will recreate their favorite room from their home or personal space using found objects papers, fabrics.
Students will recreate a scene of a meaningful celebration from their home, culture or religion using a shadow box, found objects, material and papers.
Special needs students may be given a variety of flat sided building blocks and white glue to create an assemblage.
Appendices
Appendix
C, Portfolio Log (ongoing) Various
Rubrics (Appendices D,E,I,J)
Title: Sculpture in Motion
Time: 420
Description
In this
activity, the student will become knowledgeable about the concept of motion as
it applies to 3-D kinetic art, with or without sound. The student will use the
overall theme of transforming the ordinary into the extraordinary to create a
mobile or wind chimes using one of a variety of potential created or found
materials. The student will become familiar with present and past kinetic art
and more confident in their knowledge of the principles of design.
Strands and Expectations
Ontario Catholic School Graduate
Expectations:
The Catholic School Graduate:
• thinks reflectively and creatively to evaluate situations and solve problems,3c
• applies effective communication, decision-making, problem solving, time and resource management skills, 4f
• achieves excellence, originally and integrity in one's own work and supports these qualities in the work of others, 5g
• respects the environment and uses resources wisely, 7i
Strands: Theory, Creation, Analysis
Overall Expectations:
At the end of
Grade 9, students will:
• use materials and processes to create art objects that express their intent (VCV.01X)
• apply the elements and principles of design (VCV.02X)
• through critical analysis, explain the function (e.g., political, religious, social) of their own artworks and those of other cultures (VAV.02X)
• apply an understanding of the elements and principles of design to personal, historical and contemporary artworks (VTV.01X)
Specific Expectations:
Students
will:
• compile a collection of visual resources (VC1.02X)
• demonstrate an understanding of basic skills and concepts in sculpture (VC2.02X)
• demonstrate the ability to create representational, abstract and non-objective artworks that convey ideas or concepts (VC2.06X)
• describe the materials used and steps followed in the creation of a particular artwork (VA1.02X)
• apply the elements and principles of design to their own artwork (VT1.01X)
Planning Notes
To ensure
adequate movement of the kinetic sculpture, air needs a surface to push
against, not flow through. Adequate surface, not weight, is the most important
factor to insure movement by air.
• Construct the mobile from the bottom up.
• Add each item, one or two at a time, insuring sufficient balance is maintained.
• Required materials include heavy gauge wire (e.g. coat hangers), wire cutters, string, fishing line or invisible thread.
• When on display, caution should be taken so as not to activate school motion detectors.
Prior Knowledge Required
• basic understanding of elements and
principles of design (e.g. balance, harmony)
• understand that repetition of the
elements of design creates rhythm which unifies the composition
• know that effective use of design
principles contributes to an art works ability to convey ideas
Teaching/Learning Strategies:
1. The teacher will:
• review the Grade 8 Visual Arts sculptural expectations
• explain the term kinetic sculpture as art with moving or changing parts and that there can be many causes of motion (e.g. air currents, water, electricity)
• show slides of air driven kinetic sculptures (e.g. Alexander Caller mobiles, Julio LeParc art, wind chimes, children's toys, pinwheels) and explain the basics of assembling and balancing a mobile.
2. Students will:
• In groups, generate group or personal themes and explore media (paper, clay, small toys or objects from daily life, found objects) to construct kinetic air driven sculptural projects.
• gather or create items for mobiles, based on chosen theme.
• assemble their mobile/wind chime to insure proper balance and movement.
3. The teacher will emphasize the necessity of surfaces against which the air will push or move objects
4. The students will stage a culminating exhibition and presentation of all work from the entire sculpture unit.
Assessment/Evaluation:
1. Technique
log, quiz to be reviewed by teacher for appropriate use of art vocabulary and
understanding materials used (VA1.02X, VC2.02X)
2. Drawing
journal by teacher for knowledge of procedures and materials (VC1.02X)
3.
Self-evaluation rubric, verbal feedback, conferencing by students, peer and
teacher to assist in procedures, use of elements and principles of design to
enhance communication of thoughts and ideas effectively (VC2.02X, VC2.06X,
VT1.01X)
(Utilize
Appendices Rubrics; C,D,F,I,J,K)
Resources:
Chapman,
Laura, A World of Images. Worcester, Massachusetts: Davis Publication,
Inc., 1992.
Roukes, Nicholas, Art Synetics, Stimulating Creativity in Art. Worcester, Massachusetts:
Davis
Publications, Inc., 1982.
Schuman, Jo Art From Many Hands Multicultural Art Projects Worcester, Massachusetts:
Davis Publications, Inc., 1981.
Websites – for various websites, see Sculpture Unit list
• Students will use only found
objects with personal meaning to create mobile
• Students could make kinetic sculptures that are more interactive forms of sculpture
• Assistants or peer helpers for special needs students could assist in assembling aspects that require fine motor skills
Appendix C, Portfolio Log Various Rubrics(Appendices D,E,I,J)
We’re made so that we
love
First when we see
them painted, things we have passed
Perhaps a hundred
times nor cared to see;
And so they are
better, painted—better to us,
Which is the same
thing. Art was given for that –
God uses us to help
each other so,
This world’s no blot
for us,
Nor blank—it means
intensely, and means good:
To find its meaning
is my meat and drink!
(Robert Browning,
“Fra Lippo Lippi”, II.299-306 &II.313-315)
This excerpt from Borrowing’s poem could be used to provoke discussion about what motivates the artist to create. Student artists can articulate that the study of drawings can provide us with the opportunity to see the world through the eyes of others, thus allowing for our understanding and appreciation of the past but also of our perceptions of the present. They will understand that their own drawings can provide others with a personal record of signs and symbols. When Lippi writes “the world means intensely and means good” he is showing us that it is the artist’s task to show others the essence of the human condition –that is that we are not alone in the world. Essential to the human condition is that we have relationships with others, with our world and with our God.
To look is one thing,
To see what you look
at is another,
To understand what
you see is a third,
To learn from what
you understand is still something else:
To act on what you
learn is all that matters.
(Taoist saying from Art in Focus, 1989 edition)
Appendix B: Art
Criticism Sheet
Name:
_____________________________________________________Grade: ______
Name of artwork if
known: ________________________________________________
A Way to Talk About
Art
Step 1: The Facts
–Describe what you see in the artwork.
1. Lines
What kinds of lines do you see?
sharp___ fuzzy___ choppy___ smooth___
thick___ thin_____ vertical___ horizontal___
jagged___ curved___ diagonal___ straight___
heavy___ graceful___
2. Shapes
What kinds of shapes do you see?
circles___ squares___ curved___ angular___
rectangles___ triangles___ soft-edged___ hard-edged___
3. Textures
What kinds of textures do you see?
rough___ soft___
smooth___ hard___
shiny___ dull___
4. Colours
What kinds of colors do you see?
bright___ dark___ soft___ strong___
Warm Colours: Cool Colours: Opposite Colours:
reds___ blues___ blues and oranges___
oranges___ greens___ reds and greens___
yellows___ yellows and purples___
Neutral Colours: browns____ grays___ whites___
5. Objects
What kinds of objects do you see?
young people___ trees___ buildings___ rocks___
elderly people___ sky___ boats___ water___
animals___ food___ musical instruments___
There are no objects___
Art Criticism,
continued
Step 2: The Design—Look
at the way the facts are put together (designed).
6. Balance
What kind of balance is used?
Asymmetrical___ symmetrical___
Each side of the painting is a little different___
7. Light Areas
Squint your eyes and look at the artwork. Where do you see the lightest areas?
Right side___ left side___ bottom___top___
Middle___
8. Focal Point
What is the first thing that you see when you look at the painting?
9. Illusion of Space
What kind of space is used?
Deep space (painting looks like you can see for miles)____
Shallow space (you cannot see very far)___
Flat space (things do not seem very 3-dimensional___
10. Dark Areas
Squint your eyes and look at the painting. Where do you see the darkest areas?
Right side___ left side___ bottom___ top___
Middle____
11. Rhythm created by repetition
What do you see repeated in the artwork?
Lines___ Draw the kind you see repeated the most__________________________
Shapes___ Draw the kind you see repeated the most__________________________
Colors___ What colours are repeated the most______________________________
Go back and reread how you described the facts (Step 1) and how those facts are put together (Step 2). These are the clues to the meaning and purpose of the artwork. They will help you answer the following questions.
12. The artist seems to be primarily concerned with imitating nature.
Yes___ No___
13. The artist seems to be mostly interested in expressing a feeling or an emotion.
Describe______________________________________________________
14. The prime concern of this artist seems to be with lines, shapes, colours, and textures and with design or composition.
Yes___ No___
15. Does the name of the artwork tell you about its meaning or purpose?
Yes___ No___
16. Which of the following words best describe what you think is the meaning of this artwork
(You may use as many words as you need and add some of your own):
strength___ fear___ loneliness___ mystery___
beauty___ hope___ peace___ war___
love___ hate___ sadness___ happiness___
madness___ anger___ death___ old age___
excitement___ adventure___ enjoyment___ fun___
courage___ interest in lines___ interest in colour___
horror___ simplicity of design___ complexity of design___
17. This artwork is an excellent ___good____poor examples of:
Imitationism (imitating nature)____
Emotionalism (showing a feeling or emotion)____
Formalism (making the viewer aware of lines, shapes, colours or design)___
18. I like___don’t like___this artwork.
19. Explain the reasons why you like or do not like this artwork________________________________________________________________________________________________________________________________________________________________________.
Portfolio Log—name of
student:________________________________
|
Date |
Log Entry |
Title of Artwork |
Criteria for
Evaluation |
Self, Peer, Teacher
Eval. |
Reflections Comments |
|
Sept. 8 |
#1 |
Important Images |
VC1.02X |
Peer rubric |
– first attempt using graphite pencils, I enjoyed the effect |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Appendix D: Reference File/Personal Entry File
Reference File
|
Type/Title of artwork |
Date |
Artist |
Style |
Media |
Tools Used |
Motivation of artist |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Personal Entry File
|
Title of Artwork |
# |
Date |
What I Like about the artwork |
What I would improve |
Other comments |
Teacher’s comments |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Appendix E:
Teacher Checklist – Drawing
|
Categories |
Below 50 |
1 |
2 |
3 |
4 |
|
1. Theory (Knowledge/ Understanding) – knowledge of facts and
terms – types of artworks relating to the natural environment created
across cultures and time periods. |
Demonstrates no knowledge
of types of artworks produced. -did not record information
in the drawing journal. |
Demonstrates limited knowledge
of types of artworks produced. |
Demonstrates some knowledge
of types of artworks produced. |
Demonstrates considerable
knowledge of types of artworks produced. |
Demonstrates thorough
knowledge of types of artworks produced. |
|
2. Analysis (Thinking & Inquiring) -understanding of the
functions or purposes of art from ancient to early Christian times. |
Demonstrates no knowledge
of the functions of art. -did not record the
functions of the artworks. |
Infrequently demonstrates
an understanding of the function of art. |
Sometimes demonstrates an
understanding of the function of art. |
Frequently demonstrates an
understanding of the function of art. |
Routinely demonstrates an
understanding of the function of art. |
|
3.Communication – use of artistic language
and symbols in the drawing journal notes. |
Demonstrates no knowledge
of the use of artistic language and symbols. -did not record information
using art vocabulary. |
Uses artistic language and
symbols with limited accuracy. |
Uses artistic language and
symbols with some accuracy. |
Usually uses artistic
language and symbols with considerable accuracy. |
Consistently uses artistic
language and symbols with accuracy. |
|
4. Creation (Application) -reproduced thumbnail sketches
of examples of artworks. |
Did not draw thumbnail
sketches. |
Recorded limited
information in the preliminary sketches. |
Recorded some information
in the preliminary sketches. |
Recorded considerable
information in the preliminary sketches. |
Recorded extensive
information in the preliminary sketches. |
|
5. Values -OCSG 2(a) -listens actively and
critically to understand and learn in light of gospel values. -OCSG 4(e) -sets appropriate goals and
priorities in school, work and personal life. -OCSG 7(b) |
Does not respond to
situations in a manner that reflects the values of the OCSG. |
Infrequently responds to
situations in a manner that reflects the values of the OCSG. |
Sometimes responds to situations
in a manner that reflects the values of the OCSG. |
Often responds to
situations in a manner that reflects the values of the OCSG. |
Frequently responds to situations in a manner that reflects the values of the OCSG. |
Appendix F: Self Evaluation
Rubric
(to be completed 2-3 times throughout the course)
Date: LEVELS
|
The following evaluation is based on
observation of how frequently you demonstrated specific behaviours: |
1 |
2 |
3 |
4 |
|
Attitude • I
display originality • I
respect my own work and that of others • I used
my talents with responsibility and care for others • I used
my time wisely • I
completed projects on time • I work
well with others • I
accepted suggestions and evaluate whether they can be used • I am
willing to share my artwork and opinions with others. • I took
responsibility and care of my working environment |
|
|
|
|
|
Awareness • I am
becoming more visually aware of the world around me • I am developing
awareness of the principles and elements of design • I am
using the books in the art room to search for ideas and inspiration from
other artists • I make
sure that I fully understand the problems to be solved • I am aware of my responsibility as a communicator of ideas |
|
|
|
|
|
Process • I
regard unsuccessful attempts as a learning experience • I am
willing to take creative risks • I am
capable of accepting accidents as a positive aspect of my own work • I strive
for a higher level of achievement • I show
initiative in finding and implementing ideas • I work through ideas and reflect regularly in my drawing journal |
|
|
|
|
|
Product • I produced a piece of art which is of a quality equal to my best attempt • I made use of the skills that I have been taught • I can discuss feelings and thoughts about my work in an honest and objective way • I appreciated
the work of others and give them positive reinforcement • I
participated in class discussions forums |
|
|
|
|
"Drawing Plant Life Using a
Viewfinder"
Name ____________________________________ Date ______________________
Circle the appropriate rankings:
Below 50 1 2 3 4
I completed my drawings
I
used the viewfinder to isolate 1 2 3 4
interesting
portions of the
environment
I
drew 3 plants using contour lines 1 2 3 4
I
used variety in the type of contour 1 2 3 4
drawings
completed
I
used observations skills for adding 1 2 3 4
details
on leaves, plants to create
a
representational drawing
I
am getting better at using art tools 1 2 3 4
and
materials
I
am proud of my drawings 1 2 3 4
I
showed respect for the 1 2 3 4
environment
when drawing
on
locations (leaving plants
in
the soil, removing garbage I
created
or found when I exited
the
site)
Reflection
1. What did you learn about yourself in this drawing assignment? (attitudes towards drawing, towards other people, towards the environment)
2. What did you learn about drawing?
3. Describe the most interesting fact about the environmental art of ancient cultures.
4. How would you change in your drawing if your were to re-do it?
5. What possible career choices could you discover through this style of drawing?
Words of Dan Pine:
"Be grateful and thankful for every day. Take care of the earth and all that has been given to us. Lots of damage has been done to us... to the waters, to the lands, to the air. Like the land we too are hurting. Always remember that the land is blessed. My friends, my relatives, children, do good things and help each other. The drum sends out a message to us. The drum calls us to come together as a Nation, so that our hearts and minds will be as one. Our children must be prepared for the future. We must ensure that our languages not be lost. We must teach our young people about fasting, so they will know their spirits. Our children must grow in a spiritual way, so they will know and respect the ways of our people. It is important to work together, to communicate with each other, for the sake of our children and the future generations to come. Let us think ahead for seven generations."
—Ojibwe Unit - Mount St. Joseph College- Huron-Superior Catholic District School Board—
Some points to remember when picking medicines, foods, teas, etc.:
• Remember, all plants are alive, and possess a spirit.
• Place tobacco and give thanks.
• Pick plants on sunny days only, usually at mid-day, when the sun is still in its zenith.
• Be careful and be gentle when removing the plant. Do not pull out the plant roughly.
• Do not use metal implements, but rather, use your hands or a stick.
• Above all, remember to give thanks to the Great Spirits for the abundance of nature.
• Remember, when you take something from the earth - you leave something in its place – that is tobacco
The Great Spirit created this earth and everything on it. In his wisdom he created a unique tree.
This wonderful tree produced all kinds of different fruits and vegetables. It produced apples, plums, corn and many other foods which the people needed. As soon as one was picked, another one would grow and ripen to replace it. It was truly a wonderful tree and all the people depended on it for their livelihood.
The Great Spirit watched over the tree, as he did with the rest of creation. He could see that the people liked the tree. He recognised how great their need of it was. The people in their great haste to pick the fruit and vegetables soon forgot to give thanksgiving to the Creator, for this gift to them. Great Spirit became upset then angry and then ordered the great tree to be cut down.
The strongest men of the tribe were summoned to chop the tree down. The tree was tall and strong, the bark was thick and hard. For a while the tree stood rigid. Finally, after many days of work, the great tree fell.
How sad all the people were. It was such a great loss. They knew they had angered the Great Spirit, because they had not offered Thanksgiving.
Very soon the people did not have enough food - they were in great need. Some of them starved. They called out to the Great Spirit to look upon them with kindness. The Great Spirit knew what was in their hearts and he felt pity and sorrow for them. He looked at the tree with the branches strewn about in disorder and said, "I see your great need and feel your sorrow. Take each branch and plant each one separately. This time each branch will bear a different food. Once more you will be happy and contented."
The people did as they were advised. Each branch bore a different fruit or vegetable. There were plums, pumpkins, corn, beans, raspberries and many others, as each branch was planted separately. Once more the Anishnabek prospered. They nolonger went hungry. Life was good. They were happy and contented. They always remembered to give Thanksgiving to the Great Spirit, the Creator of all things.
—Ojibwe Unit - Mount St. Joseph College – Huron-Superior Catholic District School Board—
|
Criteria |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
|
Versatility |
Collection shows little range of interests and abilities. |
Collection shows some range of interests and abilities. |
Collection shows a variety of interests and abilities. |
Collection demonstrates extensive and in depth interests and skills. |
|
Reflections |
Reflections show little depth. Insights are lacking about areas of strength and improvement. |
Reflections are reasonable. Student shows some insights about areas of strength and improvement. |
Reflections are thoughtful. Student reveals insights about areas of strengths and improvements. |
Reflections are thoughtful. Student reveals strong, insights about areas of strengths and improvements. |
|
Process |
Artwork lack examples of process, indicating that the student has learned little or nothing from the experience. |
Artwork shows some attention to process, indicating that the student has gained some from the experience. |
Artwork shows attention to process, indicating that the student has gained from the experience. |
Artwork shows very thoughtful attention to process, indicating that the student has gained from the experience. |
|
Problem Solving |
Student is unaware of problems and is unable to solve them when called to his/her attention. |
Student responds to some problems called to his/her attention. |
Student recognizes problems and attempts to solve them. |
Student shows resourcefulness in solving problems. |
|
OCSGD |
The student does not demonstrate Gospel message in process or content. |
The student rarely demonstrates the gospel message in content and process. |
The student sometimes demonstrates and addresses the gospel message in content and process. |
The student always demonstrates, addresses, and promotes the gospel message in content and process. |
Appendix J: Peer Assessment – Artwork
|
CRITERIA |
LEVEL 1 |
LEVEL 2 |
LEVEL 3 |
LEVEL 4 |
|
1. Knowledge Did the student Demonstrate an application of the stated criteria/skills |
Limited knowledge |
Some knowledge |
Considerable understanding |
Thorough understanding |
|
2. Thinking/Inquiry The student artist can interpret own artwork and explain
purpose/method |
Makes limited connections and understanding |
Makes simple connections and demonstrates some understanding |
Makes complex connections and frequently demonstrates understanding |
Makes complex and insightful comments |
|
3. Communication The student artist has used the elements and principles of design to effectively communicate a personal idea, concept or social issue |
Uses language of art with limited accuracy Limited use of the elements and principles of design in artwork |
Some sense and use of language of art Uses limited scope of elements and principles of design |
Communicates clearly and with considerable accuracy Uses elements and principles of design effectively |
Uses a wide range variety of forms of communication both in language and through art |
|
4. Application – Making Connections The student artist can make connections between art work
and/or issues |
Infrequently applies knowledge and skill to artwork |
Sometimes applies knowledge and skills to artwork |
Usually applies and makes connections between artwork and issue |
Routinely applies all knowledge and skill to artwork |
|
5. OCSGD The student has demonstrated an understanding of social, environmental or personal issues related to Gospel values through their artwork |
Infrequently and/or with limited understanding |
Some demonstration and understanding |
Usually demonstrates an understanding |
Thorough understanding of social, environmental or personal issues related to Gospel values |
Viewing-Visual Literacy Exercise, Self-Assessment
A. Write down 4 words that come immediately to your mind while viewing this work.
1. ______________ 2._________________3,. _____________ 4.________________
B. Do the following for each of your 4 words:
describe in point form how the artist used the elements and principles of design to evoke a feeling or thought.
1._______________________________________________________________________________________________________________________________________________________________________________________________
2._______________________________________________________________________________________________________________________________________________________________________________________________
3._______________________________________________________________________________________________________________________________________________________________________________________________
4._______________________________________________________________________________________________________________________________________________________________________________________________
C. Title of work:___________________________________ Media:___________________
Artist:__________________________________ Date:_________________________
D. Is the title appropriate to this work of art? Why? Why not?
E. Have you even seen a similar approach to the content? Where?
|
Drawing
Journal 20% |
Portfolio—Artwork 50% |
Fin. Eval 30% |
|
|
Self- rubric |
Teacher % |
Peer- rubric |
Self- rubric |
Teacher % |
Peer- rubric |
Teacher % |
|
Drawing 1. 2. 3. 4. 5. 6. |
|
|
|
|
|
|
|
|
Painting 1. 2. 3. 4. 5. |
|
|
|
|
|
|
|
|
Sculpture 1. 2. 3. 4. 5. |
|
|
|
|
|
|
|
|
Print-making 1. 2. 3. 4. |
|
|
|
|
|
|
|
|
Inform Design 1. 2. 3. 4. |
|
|
|
|
|
|
|
|
Indep Proposal 1. 2. 3. |
|
|
|
|
|
|
|
|
Other |
|
|
|
|
|
|
|
Continue to Unit 4 | Back to Unit 2 | Back to Course
Profiles main menu