Course Profile
Visual Arts, Grade 9 open, Public
Unit #2:
Cultural Diversity
Activity 1 | Activity
2 | Activity 3 | Activity 4
Time: 22 hours
Unit Description:
The central theme for this
unit is “Cultural Diversity.” Students will
use art production skills and certain elements and principles of design to
explore problems related to drawing, printmaking, and collage. Concepts such as Canadian identity,
symbolism, and point of view are explored through studio responses, art history
images, and critical analysis/interpretation exercises. Three essential questions which frame this
unit are:
1. How does art communicate cultural values, beliefs, and
roles? (context)
2. How can art be different and the same? (production)
3. What role does
the artist play within society? (reflection)
|
Content Focus |
• Analysis: essential questions, recording information, drawing,
observation • Creation: drawing, collage, relief printmaking • Theory: culture, symbols, elements and principles, Canadian Art |
|
Resource Journal |
Reflection; planning; data collection; note taking; drawing, research about artists, research about techniques |
|
Essential Questions |
• What role does the artist play in society? (reflection) • How can art be different and the
same? (production) • How does art communicate cultural values, beliefs, and roles? (context) |
|
Assessment Strategies (observable data) |
• Check lists, observations, attendance
and lates, work habits etc.- see Appendix
E |
|
Evaluation Strategies (assigned marks) |
• Scoring rubrics and scales, tests, etc.
- see Appendix E |
|
Connections (to previous units) |
Symbols, culture, build on the insights from the essential questions, elements and principles, drawing techniques |
|
Activities |
• Activity 1: “Same Difference” - Point
of View (2.5 hours) • Activity 2: Bicultural Collage (4
hours) • Activity 3: Defining Cultures through
Art (4 hours) • Activity 4: “I AM”- Relief Printmaking and Modular Group Project (12 hours) |
Strands & Expectations
Strands: Creation, Analysis, Theory
Overall Expectations: VCV.01X-5X; VAV.01X-3X; VTV.01X-4X.
Specific Expectations: VC1.01X-2X; VC2.01X;
VC2.04X; VC2.06X; VC3.01X; VC3.03X; VA1.01X-02; VA1.04X; VA2.01X; VA2.03X; VT1.01X;
VT2.01X-3X; VT3.01X-4X.
Unit Planning Notes
• Continue to make use of the Resource
Journal as a learning tool in visualizing concepts; producing preliminary
drawings; for gathering imagery, symbols, and related research; and for
evaluating work accordingly and intermittently.
• The consideration of concepts like
“diversity”, “cultural groupings”, “tolerance”, “bias”, and “stereotype” will
lead to lively discussions and varied viewpoints, but has the potential for
creating conflict. Teachers should
exercise sensitivity, fairness, and discretion to ensure that all views are
heard and no one is excluded; however, the overt promotion of hatred towards
any individual or group, for whatever reason, should not be tolerated under any
circumstances; clear guidelines for appropriate discussion must be established
by the teacher, in negotiation with the students.
• Try to select visual examples that are
multicultural; expose students to non-Western images and artifacts, as well as
those from local communities, popular culture, and varied historical sources;
pose questions for inquiry about displayed images and ask students to make
visual comparisons to reveal both difference and similarities.
• Provide students with visual research
strategies; schedule library time for on-line internet investigation as well as
book, periodical, vertical file searches and other electronic media.
• The following definition for “culture” provides
a starting point for discussion: “The totality of ideas, beliefs, values,
knowledge, habits, and way of life of a group of individuals who share certain
historical experiences. Culture changes continually and thus often contains
elements of conflict and opposition.” (Changing Perspectives - Ministry of
Education and Training, 1992)
• Lesson design needs to show a smooth
transition from one concept to the next.
• Early planning and acquisition of quality
slides and/or reproductions are suggested as the variety of images used in
lessons has a significant impact on the success of the activity.
• Lessons need to be tailored to meet the
needs of individual students within a class.
• The three essential questions should be
prominently displayed in the classroom so that teachers can easily refer to
these questions throughout the unit.
Prior Knowledge Required
(from: The Ontario
Curriculum, Grades 1 - 8, 1998)
Students should be able:
• to demonstrate how the repetition of
elements of design creates rhythm which unifies the composition;
• to show how the elements of design are used
to create areas of emphasis;
• to organize the elements of design to
create symmetrical and asymmetrical balance in compositions;
• to select tools, materials and techniques
appropriate to the size, scope and intent of an art work;
• to organize their art works to create a
specific effect using at least two of the elements of design;
• to produce two- and three-dimensional works
of art that communicate a range of thoughts, feelings, and experiences for
specific purposes;
• to describe the main idea that they wish to
communicate and the decisions that they have made to support that message;
• to identify strengths and areas for
improvement in their own work and that of others;
• to describe how artists representing
various periods, styles and cultures have used similar materials, tools and
principles of design for a variety of purposes;
• to explain how the effective use of the
elements and principles of design contributes to an art work’s ability to
communicate feelings, convey ideas and enrich people’s lives;
• to explain their preference for specific
art works, with reference to the artist’s use of the principles of design and
their understanding of the ideas and feelings expressed in the work;
• focus on performances that will demonstrate
genuine understanding; explanation, interpretation, application, perspective
(points of view), empathy, and self-knowledge;
• strive for a balanced approach to concepts and
skills: teacher-directed and student-centred instruction; intuition/feeling and
reasoning/thinking; repetition of skills to develop depth and experimentation
to develop breadth; 2D and 3D experiences; individual work and collaborative
activities;
• continue to model for students that being
an artist is a fundamental human response to the world based on thinking and
feeling;
• incorporate critical thinking skills into
lessons (see Appendices F, G, H, J, K)
• model levels of achievement for students;
• use a variety of teaching strategies (see Appendix
D)
• take opportunities to make career
connections, especially in the curator task in activity 3;
• allow for the development of the student
portfolio (see Appendix C); continue to make use of the resource journal (see Appendix
B);
• allow for different learning styles and
student modifications in lesson design (see Appendices D, I).
Assessment/Evaluation
• simple checklist/holistic evaluation of point
of view contour drawings (see Appendix E);
• assign resource journal drawings and check
for completion;
• evaluation scales used for Bi-cultural
Collage;
• “Museum Curators” group presentation is
evaluated using a checklist and anecdotal comments; peer evaluation as well;
• Canadian symbols quiz;
• Relief printmaking evaluated using a
rubric; self-evaluation based on reflective questions; peer
evaluation of installation teams; teacher anecdotal comments regarding class
collaboration;
• evaluation rubric (see Appendix N) for Activity
#4, “I Am”.
Activity #1 : “Same Difference” - Point of View
Time: 2.5 hours
Description
Using contour drawing as a vehicle for exploring and understanding various ways of seeing a specific location or object, students will acquire an understanding of the concept point of view. This will be related to the essential question: How can art be different and the same? Art images of a common theme or subject, produced by different artists, are used to introduce and define the unit theme of cultural diversity.
Strands and Expectations
Strands: Creation, Analysis, Theory
Overall Expectations:
At the end of Grade 9, students will: VCV.01X-5X; VAV.01X-3X; VTV.01X-4X.
Specific Expectations:
Students will: VC1.01X-2X;
VC2.01X; VC2.04X; VC2.06X; VC3.01X; VC3.03X;
VA1.01X-02; VA1.04X;
VA2.01X; VA2.03X ; VT1.01X;
VT2.01X-3X;
VT3.01X-4X.
Planning Notes
• Ensure
that the setting which students are drawing provides enough variety for multiple
points of view, i.e., library, cafeteria, hallways;
• Establish procedures and protocol for classroom
critique sessions ahead of time;
• Include critical analysis in lessons - see Appendices
F, G, H, J, K;
• Limit the selection of media for contour
drawing; graphite pencil or stick, or markers are best;
• When displaying multiple viewpoint drawings,
teacher may try to recreate the location by mounting drawings in their actual
spatial location,. i.e., floor views grouped together;
• Ensure that the three essential questions
are posted in the classroom;
• Visual resources, i.e., post cards,
reproductions, slides, calenders, textbook illustrations, overheads, internet,
CD ROMs should be accessible.
Prior Knowledge Required
• Students should be familiar with methods of
contour drawing, eye/hand co-ordination, and use of drawing media;
• Students should be conversant with
different types of subject matter: landscape, portrait, genre, still-life,
figure, abstraction, fantasy, narrative/historical;
• Build on skills of critical inquiry and
interpretation from the previous unit.
Teaching/Learning Strategies
1. (a) Send students, either
individually, in pairs or in small groups, out of the classroom to draw or
photograph a place in the school (i.e.,the cafeteria or resource centre). Make the directions very general and
non-specific, (i.e.,they may position themselves anywhere for drawing.) Drawing
can be done as detailed contour drawings or fully rendered value studies; these
drawings should be as descriptive as possible.
A short review or warm-up lesson on contour drawing can be
planned OR, set aside a class for an introduction to contour. Contour drawing captures the edges or contours
of figures or objects in a slow and deliberate manner. Contour drawings are concerned with shape
and structure. (Refer students back to
Unit 1, Activity 1.) Emphasize
continuous, close observation and slow movement of the pencil. This form of outline contour drawing will
prepare students for the challenge of a larger view. Design: Stress
varieties of lines; value used for contrast and emphasis within a drawing;
selection or framing of the view is significant in determining point of view.
Extensions: Instead of drawing,
students could photograph the setting or object from multiple
perspectives. Use 35mm or Polaroid
cameras. Instead of contour or value
studies, the drawings could be interpreted in a more subjective way. Students could produce abstract or
expressionistic versions of the same subject matter. The purpose of the assignment remains the same, regardless of the
approach.
(b) Compare the images by displaying and critiquing the drawings
created by everyone in the class. Ask the following questions:
• Why are these images
of the same subject all so different?
• How have individuals
interpreted the instructions?
• Are some pictures
more correct or better than others?
• Where was the artist
standing or positioned?
• How far away or
close up is the subject?
• How do these
different views make you feel?
2. Introduce the concept of “point of view”. How does it relate to the way we see
things? Can a different point of view
about the same object communicate a different meaning? How?
Note the fact that these views are different, but the same. This will lead into the first essential
question: “How can art be different and
the same?”
3. Have students locate and sort reproductions of a specific subject (still-life,
landscape, portrait, etc.) as interpreted by three different artists and
identify similarities and differences, in oral or written form. (See Appendix
K- “20 Questions about Art”)
Have students discuss these examples, highlighting the significance of
diversity and variations of viewpoints that are informed by a common
theme. Move the activities into a
broader context by asking students to pick three different areas or regions in
Canada that they have experienced (experiences could be physically going there,
living there, looking at pictures, reading about the area, or hearing about the
area through friends and the media).
Ask students how these areas of Canada are “different and the same?”
Now have students look at their three reproduction examples. How are these three images “different and the same?” What one artist sees may be interpreted
differently from another artist. How
does the exercise with the three reproductions mirror our contemporary Canadian
society (i.e., three landscapes, but each one is unique, and each group member
may have different experiences from other group members)? Lead students to a definition of cultural diversity, with the
understanding that we live in a single nation comprised of diverse cultures and
points of view.
4. (a) Extensions - (use with student Resource Journal)
Find photographs in magazines or books that appear unusual because of their point of view.
Students could do another drawing here, inspired by a viewpoint in the photos
found.
Follow-up Questions: Explain what is so unusual
about your photo. Why do you think the
photographer chose this particular way of seeing? How does it add to the meaning of the subject in the photo?
A display of these drawings could provide interesting
classroom discussion around viewpoint.
(b) Find artwork or
photographic images that are depicted from a high position, off the ground or a
low position, near to the ground or floor.
Find photos that show the subject very close to the camera or far off in
the distance. (Aerial photos work
well.)
Follow-Up Questions: Describe how objects or
people appear when photographed or seen from a high vantage point. Can you think of some words to describe this
feeling? (Ask similar inquiry questions about low angle shots, long shots and
close-ups). How does each one make you
feel about your subject? Why might you
feel differently towards them when you look at the close-up as compared to the
shot taken from a distance?
To illustrate this discussion, have students play with a
video camera and a monitor. Have them shoot an object from bird’s eye view, or
from worm’s eye view. Have them experiment with exaggeration, distortion, and
intensity of light and dark to create a dramatic effect.
Accommodation
• Pair students for the image sorting and written responses to differing points of view.
• Make drawing
critique/follow-up questions available on an overhead transparency.
• See Appendix I for
modifications.
Assessment and Evaluation
• Simple checklist/holistic evaluation may be
used for point of view contour drawings (see sample Appendix M);
• Have students record observations
pertaining to point of view in their Resource Journals;
• Self-evaluation questions should be used.
Resources
Mittler, Gene A. Creating and Understanding Drawings. (Mission Hills, CA: Macmillian/McGraw- Hill,
1995) ISBN: 0-02-662228-9
Kauplis, Robert. Experimental
Drawing. (New York: Watson-Guptill,
1980)
ISBN: 0-8230-1618-8
Barrett, Terry. Talking About Student Art. (Worcester, MA: Davis Publications, 1997).
ISBN: 0-87192-361-0
Activity #2 : Bi-cultural Collage
Time: 4 hours
Description
Following a discussion that
leads to an initial definition of “culture”, students are asked to identify a culture
to which they personally belong. Stress
the importance of looking beyond ethnic or national descriptions (refer to
planning notes for the definition of culture). Assist students in creating an
inclusive and broad definition of culture, one that is based on everyday
experience, social criticism, and many voices.
Symbols and images from
specific cultures will be researched and gathered together in the form of a Bi-cultural Collage that visually
incorporates and reconciles two contrasting cultural groups.
Strands and Expectations
Strands: Creation, Analysis, Theory
Overall Expectations:
At the end of Grade 9, students will: VCV.01X-5X; VAV.01X-3X; VTV.01X-4X.
Specific Expectations:
Students will: VC1.01X-2X;
VC2.01X; VC2.04X; VC2.06X; VC3.01X; VC3.03X;
VA1.01X-02; VA1.04X; VA2.01X; VA2.03X ; VT1.01X; VT2.01X-3X; VT3.01X-4X.
Planning Notes
• Teachers must be aware of the potential for
conflicting opinions among students with differing views or beliefs. Ensure that students are made aware of
expectations for productive and inclusive discussion.
• Use of brainstorming as an idea-generating
strategy
• Students should be familiar with the use of
design principles for composition (i.e. contrast, balance, rhythm, unity, etc.)
• Students should be acquainted with collage
techniques for combining found and drawn images
1. Ask students to record in their Resource Journal, which cultural
groups they belong to, and what makes these groups distinctive. Using this recorded information, have
students decide what or who defines their group, using the headings
“appearance”, “organization”, “beliefs”, and “purpose”. This will eventually lead to a
consideration of the attributes of a culture (i.e. youth,
rappers, family, etc.)
3. (a) Introduce collage
assignment. Review collage techniques
and approaches to design/composition.
Students must choose two contrasting cultural groups to which they
personally belong, or one of their own cultures contrasted with another. Using their resource journals, they are to
research and collect information that will provide them with visual materials
for the collage (photographs, symbols, magazine or newspaper reproductions,
objects, drawn images, etc.). “Cultural
Diversity is a fact. Most North
Americans live in dynamic, nonstatic combinations of multiple cultures and
subcultures. These overlapping groups
may be identified by ethnicity, gender, sexual orientation, age, geographic
location and mobility, income, occupation, education and other factors.”
Chalmers, F. Graeme. Celebrating Pluralism: Art, Education and Cultural
Diversity: (The Getty Education Institute for the Arts, 1994).
Address the essential question “How does art communicate cultural values, beliefs, and roles?” by
having students prepare a list of visual images, symbols, emblems, words, and
objects, as well as beliefs, values, and roles, that make up their particular
culture. Students can be provided with headings or a formatted handout to be
kept in their Resource Journal.
• Evaluation
scales using criteria such as planning & preparation (use of resource
journal/drawings); unity of design; clarity of purpose; variety of materials
and techniques; commitment and time management.
• See Appendices M and N for examples.
Brommer,
Gerald. Collage Techniques: A Guide
for Artists and Illustrators. (New
York: Watson-Guptill, 1994) ISBN: 0-8230-0655-7
Cahan, Susan and Zoya Kohur. Contemporary
Art and Multicultural Education.
(New York: New Museum of Art, 1996) ISBN: 0-415-91189-3
Chalmers, Graham. Celebrating
Pluralism: Art Education and Cultural Diversity. (Los Angeles, CA: The Getty Education Institute for the Arts,
1996) ISBN: 0-89236-393-2
Larbalestier, Simon. The Art and
Craft of Montage. (London: Mitchell
Beazley International, 1993) ISBN:
1-85732-099-9
Activity #3 : Defining Cultures Through Art
Time: 3.5 hours
Strands and Expectations
Strands: Creation, Analysis, Theory
Overall Expectations:
At the end of Grade 9, students will: VCV.01X-5X; VAV.01X-3X; VTV.01X-4X
Specific Expectations:
Students will: VC1.01X-2X;
VC2.01X; VC2.04X; VC2.06X; VC3.01X; VC3.03X;
VA1.01X-02; VA1.04X; VA2.01X;
VA2.03X; VT1.01X; VT2.01X-3X;
VT3.01X-4X.
Planning Notes
• If a trip to an Art Gallery or Museum can be
arranged, students will gain a much clearer picture of the role of these
institutions, as well as the job of a curator in organizing exhibitions. It is
necessary to remember that direct experience with an art gallery/museum is a
valuable tool in assisting students with the understanding of the direction,
policies, and jobs within the gallery collection and exhibitions. If an actual
visit is not possible, many galleries/museums can be viewed through collection
catalogues and Internet/web sites.
• Images of Canadian art should be diverse,
both in historical context and cultural representation: French, Inuit, First
Nations, early British, Contemporary, ethno-cultural. This list is not intended to be exhaustive, but selective and
broad in scope.
• Provide opportunities for students to see
actual works of art by Canadians, if possible, at local galleries.
• Put up reproductions of works by Canadian
artists.
• Works of art and art objects are visual
records of the beliefs, understandings, attitudes and feelings of individual
societies. The analytical and critical examination of the work of artists and
designers of different eras and cultures is a key factor in the development of
the aesthetic judgement and the understanding of our artistic heritage.
(Viewing Art, p. 3, Ministry of Education and Training, 1990)
Prior Knowledge
• Concepts from grades seven and eight
History program (see The Ontario
Curriculum: Social Studies Grades 1-6 : History and Geography Grades 7 and 8)
• Students should have previous experience
with critical viewing and inquiry about works of art
1. (a) Ask students to draw or
collect symbols that they think represent the Canadian identity. Discuss what makes these Canadian. Consider the quality of these symbols. Are they common, traditional or shared? Are they stereotypes? Do they come from our past or present? Are they influenced by popular culture or
media? Are they multi-cultural and
inclusive?
OR
Extension: Have the students produce a model of the actual museum floor
plan, including miniature reproductions of the works.
Assessment/Evaluation
Burnett, David & Marilyn
Schiff. Contemporary Canadian Art. (Edmonton, AB: Hurtig Publishers, 1983).
ISBN: 0-88830-241-X
Burnett, David. Masterpieces of
Canadian Art from the National Gallery of Canada. (Edmonton, AB: Hurtig
Publishers, 1990). ISBN: 0-88830-344-0
Finn, David. How To Visit A Museum. (New York: Abrams, 1995).
ISBN: 0-8109-2297-5
Reid, Dennis. A Concise History of Canadian Painting. (2nd Ed. Toronto: Oxford
University Press, 1988) ISBN: 0-19-540663-X
Stewart, Marilyn G. Using an Art Museum. (Worcester,
MA: Davis Publications, 1999)
Stewart, Hilary. Looking at Indian Art of the North-west
Coast. (Vancouver, BC: Douglas and McIntyre, 1979) ISBN:
0-88894-229-X
Ontario Ministry of
Education. A Resource Guide for
Anti-racist and Ethnocultural – Equity Education. (Toronto, ON: Queen’s
Printer, 1992) ISBN: 0-7729-8337-2
Activity #4 : “I AM” - Relief Printmaking & Modular
Group Project
Time: 12 hours
Overall Expectations:
At the end of Grade 9,
students will: VCV.01X-5X;
VAV.01X-3X; VTV.01X-4X.
Specific Expectations:
Students will: VC1.01X-2X; VC2.01X; VC2.04X; VC2.06X;
VC3.01X; VC3.03X;
VA1.01X-02;
VA1.04X; VA2.01X; VA2.03X ; VT1.01X; VT2.01X-3X;
VT3.01X-4X.
• Teacher should carefully outline safety
issues around the use of lino cutting tools for Softoleum or linoleum
printmaking.
• The classroom needs to be set up for printing
activities. Clean-up routines must be established.
• Introductory activities in printmaking,
including the unique nature of a print as a multiple image;
• Specific parameters for effective
collaborative group work and organization.
(c) The next phase is to
create a group project consisting of one representative image from each student
in the class. Each image becomes a
module in the larger artwork. The final
format can take the form of a quilt or fabric assemblage, by having students
print their images on fabric with textile block printing inks; a paper mural,
by building layers or creating collage frames for the printed images; a book,
by incorporating the individual prints as separate pages with a printed or
word-processed caption; or another format such as a folding screen or fabric
banners. (The quilt could be easily
fastened together using metal grommets and metal stationary rings. The teacher could briefly present the quilt as a cultural artifact and
as a collaborative artwork that represents a specific community.)
Students should collaborate on the overall design of the group artwork, including its actual construction, the order and arrangement of images, and its final installation in the classroom, school or community. The class could be organized into work teams to handle the various tasks.
• Student self-evaluation and reflection in the form of summary
questions.
• Peer evaluation of work teams
• Teacher evaluation of printmaking using a
rubric (see Appendix N)
McKendry, Ruth. Classic Quilts. (Toronto, ON.:Key Porter Books, 1997) ISBN:
1-55013-755-1
Rothenstein, Michael. Relief Printmaking. (New York Watson-Guptill Publications, 1970)
ISBN: 73-98988
Slatkin,Wendy. Women Artists In History: From Antiquity
to the Present. (Upper Saddle
River, NJ.: Prentice Hall, 1997) ISBN: 0-13-432873-6
Toale, Bernard. Basic Printmaking Techniques. (Worcester MA: Davis Publications, 1992)
ISBN: 87192-237-1
Appendix A
Finding Visual Resources
Pictures, prints and reproductions are available from many different sources. The key to selecting prints should be that they are inexpensive, accessible, and can be used for many varied activities within the classroom. Reproductions of art works by professional artists should be the focus of this collection. Visuals that demonstrate design within the environment are also important.
BUILDING YOUR OWN RESOURCES
• Library or Resource Centre picture folders
• Artist monographs or books on art (some may
be bought on sale at book stores and then cut up)
• Calenders (have staff members and parents
save these for you)
• Greeting cards
• Post cards (all galleries and museums sell
post-card reproductions in their book/gift shops. Look for individual cards as well as post-card books which may be
less expensive than individual cards.)
• Exhibition catalogues (look for extra and/or
old stock on sale tables at galleries)
• Art magazines
• General magazines and newspapers
• Illustrations from discarded books
• Reproductions and print collections may be
available from galleries and/or school boards.
Appendix B
Resource Journal/File
The Resource File
|
The resource file should: • relate to student assignments • support development of art assignments and techniques • show conceptual stages for portfolio • show progress in critical thinking/problem solving (collection;
selection; refinement) • show reflection around aesthetical issues • show research of artists • reflect feedback about art criticism • be portable, durable, storable |
The resource file may include: • preparatory sketches • working and finished drawings • anecdotal thoughts by artist and others • visual resources • self-evaluation work • assessment sheets • experimentation with mediums • articles with rationale |
|
The resource file may look like: • accordion folder • scrapbook/journal • binder • artist generated container |
Assessing the file • Does the file demonstrate sufficient
research into the selected subject focus? • Does the research allow resolve to
artistic problems? • Have new problems been addressed? • Does the art work demonstrate an emerging
pattern? • Rubrics and checklists and assessment
tools can be developed by the teacher and students. • Regular feedback must be given to
students. • Self-evaluation and goal setting must be ongoing. |
Appendix C
Student Portfolio
The Student Portfolio will
provide opportunity for students to:
• realize their learning
• communicate ideas
• express ideas
• share their learning
• set goals
• organize their work
• organize their thought process
• draw closure to a unit, course, etc.
PORTFOLIO
STRUCTURES
Structure A: CELEBRATION
PORTFOLIO
• used as a keepsake
• a personal collection of favourite works and
academic certificates
• to show positive examples of learning
experiences
• allows students to make the evaluations based
on what is “special”
• allows students to become cognizant of their
strengths and interests
TIME SEQUENCE
PORTFOLIO
Structure B1: The
Growth Portfolio:
• collection of work over time to demonstrate
change in proficiency
guidelines
for selection developed by teacher and /or students
• guidelines dictate indicators for a particular proficiency or skill i.e. contour
line drawing
• evaluation criteria needs to be constant
over time
• feedback from teacher must be ongoing
• students are provided with substantial
motivation to grow
Structure B2: The
Project Portfolio:
• over time, a student shows the completion
of stages to a larger assignment
• guidelines for the selection are in place,
based on expectations from the curriculum documents
• guidelines dictate that student provides
evidence of completing all the necessary steps
• guidelines define what quality work is (a
four level rubric designed for this would be an example of guidelines that
indicate various degrees of quality - see pages 60 and 61 in The Ontario
Curriculum, Grades 9 and 10, The Arts, 1999)
• guidelines should be given to students
before work begins and can be used as a feedback tool over time
• evaluation can be based on three sets of
performance criteria:
1. Achievement of the set of expectations
2. Stages completed within given time lines
3. Quality of work at each stage (refer to
Levels of Achievement chart)
• time span can vary and may range from days to an
entire year
Structure C: STATUS
REPORT PORTFOLIO
• pre-established standards of performance to
be developed by teacher and/or students related to expectations found in the
curriculum documents (a four level rubric designed for this would be an example
of guidelines that indicate various degrees of quality - see pages 60 and 61 in
The Ontario Curriculum, Grades 9 and 10, The Arts, 1999)
• rubrics can be used as feedback tools
throughout the development of the portfolio
• process rubrics (showing the development of
the portfolio content) and performance rubrics (showing the final portfolio
product and presentation) could be developed
• content determined by achievement target
guidelines
• students must determine that they have achieved
certain levels of proficiency – student self-evaluations can be developed to
assist students
• students assemble evidence of completing
requirements for a particular course
• guidelines for the selection of portfolio
content to be highly structured
• portfolio content to be driven by specific
academic requirements
• portfolio content to provide evidence of
student mastery
• portfolio content demonstrates completion
of prerequisites for the next unit or course
PORTFOLIO
EVALUATION CRITERIA
Developmental Level
Look for such things as
student’s ability to represent figures and objects.
Look for degree of detail,
accuracy of proportion and spacial relationships.
Look at the content of the
resource file.
Perception
Look for student’s ability
to observe and interpret their surroundings.
Look for organized essays
and composed pictures.
Look at the content of the
resource file.
Expressiveness
Look for clarity of ideas,
both visually and verbally.
Look for variety of
resources and techniques.
Look at the content of the
resource file.
Inventiveness
Look for imaginative, novel
or original solutions to problems.
Look for degree of
elaboration on ideas and images – the number of dimensions and degree of
complexity.
Look for initiative in
finding additional information and tasks.
Look at the content of the
resource file.
Critical Thinking
Look for reference to
internal and external evidence for interpretations of pictorial meanings
(including the ability to describe and use sensory and formal properties).
Look for ability to assess
the value of information.
Look for reflection on and
evaluation of one’s own art work and that of others.
Group and self-evaluation
tools can be developed and included in the resource file.
Historical Understanding
Look for awareness of other
artists, countries and times; other styles, themes, subjects and formats.
Aesthetic Appreciation
Look for ability to address
“big questions.”
Look for inductive and
deductive reasoning.
Development of
self-evaluation tools would be beneficial, and can be included in the resource
file.
Technical Quality
Look for adeptness with
materials, tools, and techniques of presentation.
Appendix D
Direct/Indirect/Independent/Interactive teaching strategies
A variety of teaching strategies should be used to address different learning styles of students.
DIRECT TEACHING STRATEGIES:
This refers to direct
instructional teaching strategies used by teacher to deliver curriculum. These
startegies may include:
|
• demonstrations • drills/practice • lecture |
• guest speaker • guided reading • guided writing |
• work sheets • film/video • questioning |
INDIRECT TEACHING STRATEGIES:
The teacher can facilitate
student learning, but not be actively involved in delivering content to
students. These startegies may include:
|
• debates • experiments • field trips |
• interviews • oral presentations • oral discussions |
• role play • learning centres • panel discussions |
INDEPENDENT LEARNING STRATEGIES:
Students sometimes need time
to work, problem solve and learn and think on their own. These strategies may
include:
|
• assigned questions • assigned assignments • computer activities |
• homework • written responses • essays |
• reports • research questions |
INTERACTIVE TEACHING STRATEGIES:
Students learn from working
with others. These strategies may include:
|
• brainstorming • mind maps • jigsaw |
• round robin • Think-Pair-Share • other co-operative learning strategies |
|
Appendix E
Assessment and Evaluation Strategies
A variety of assessment and
evaluation strategies should be used to meet the needs of all students. The assessment and evaluation tools used
should match the approaches used in the curriculum to assess and evaluate
targets set in the expectations.
Rubrics for assessment and evaluation are in the policy documents.
|
• anecdotal records • teacher log • checklists • performance charts • demonstrations • presentations • independent study projects • interviews • feed back sheets |
• conferencing • paper and pencil tests/quizzes/exams • peer evaluation • performance assessments • portfolio content • portfolio interview • self evaluation • seminars |
• written material • oral presentations • journals • rubrics-process • rubrics-product • resource file • work sheets • critiques |
WHO SHOULD ASSESS?
• Self-Assessment – personal reflection
• Peer-Assessment – peers develop their ability to identify strengths
and weaknesses
• Teacher-Assessment – formative to identify student strengths;
summative for accountability
Appendix F
Looking at Art: Critical Thinking
Strategies to Organize Looking at Art . . .
Often students need gentle
prompting when being asked to respond to works of art. Frequently key words or phrases will be
enough to instigate a comment or observation.
Retelling, Relating, Reflecting
Tell what you see by
pointing out the different parts of the work - shapes, colours, lines,
textures, people, buildings, etc. The
student should properly identify these items with words or phrases.
• I notice . . .
• In this art work . . .
• The thing that catches my attention is . .
.
Relate
Get them to talk about how
the art work connects to their own experiences, stories, feelings, people they
know.
• It makes me think of . . .
• This painting makes me feel . . .
• This compares to . . .
Reflect
Ask questions about the
work. Think about other possibilities
or extensions. Make insights,
inferences, predictions. Evaluate.
• I wonder how . . ?
• Why did the artist . . .?
• What would happen if . . . ?
based on Susan Swartz and
Maxine Bone, Retelling, Relating, Reflecting: Beyond the 3 R’s. (1990)
Learning to Think by Looking at Art
Slow Looking Down . . .
Force students to look for 3
- 5 minutes (depending on the age and maturity level). Let your eyes lead you through the
artwork. Let questions emerge. Let what you know, inform your looking. Tell yourself when you notice interesting or
puzzling things. As the flow stops,
look away for a few seconds and then look back with fresh eyes.
Looking For . . .
Expand your
perceptions. What’s going on here? Look for surprises – big ones and smaller
ones. Does the artist have a
message? What kind of movement do you
see? Where and when does it take
place? What cultural connections do you
see? What positive space and negative
space do you see? How has the artist
used colour and line? Which things are
big and which are small in scale? What
looks like it would be difficult or challenging to paint, draw, sculpt, etc.?
Focusing In . . .
Look more deeply. Go back to find something that puzzles
you. What is most interesting? What if you changed a colour, material, or
removed an object? How does the artist
make some parts of the work support other parts? Try to find a dominant part of a composition with support by
evidence and conclusions about the work.
based on David N. Perkins,
The Intelligent Eye: Learning to Think by Looking at Art. (1994)
Appendix G
Looking at Art: Critical Thinking
VISUAL RESPONSE FORMAT - VIEWING ART
MINISTRY OF EDUCATION RESOURCE GUIDE
INITIAL RESPONSE:
• What are the first five words that first come
to mind when you look at a specific art work?
ANALYSIS:
• Have students examine the work.
• What did the artist do to make you respond this
way?
• What do you see in the work that made you think
of that word? colour? texture? image?
• How did the artist make you think this way?
(Encourage students to think about culture, time, context, composition,
content, symbols, images, elements of design.)
• What did the artist leave out of the work that
makes you respond the way you do?
• What are the important decisions that the
artist may have made in creating this work?
• What else contributes?
• What information can be gathered from the
work itself? (Encourage students to think about media, subject, style,and
symbols.)
• What questions arise from looking at this work?
INFORMATION:
• Provide a brief biography of the artist.
• Give some comparisons of artists with different
or similar styles, themes, subject matters or ideas.
• Have students research relevant information, or
related works.
PERSONALIZATION:
• How does the work change you?
• What do you bring to this work that another
viewer may not?
• What is more important, the subject, or the
artist’s view of the subject?
• Why might this work have been made?
• How does this relate to work that you have done
yourself?
• Has your response changed due to looking more
closely?
• What more would you like to know to understand
the work better?
EXTENSIONS:
• Extend the historical, theoretical and
appreciative components for the classroom into practical studio activities.
• See Annie Smith with Francena Hancock, Getting
Into Art History, (Toronto: Barn Press, 1993). ISBN: 96969953-0-6
Appendix H
Looking at Art: Critical Thinking Activities
Ping Pong
Present students with two
sets of paired images. Try to secure a
variety of art forms, e.g. paintings, sculpture, chairs, still life,
architecture, photographs. Select
images which have some similarity in terms of subject matter, design or
theme. (Later, they can be completely
unrelated for a challenge.) Use between six and seven pairs. Explain the procedures simply: ask students
to decide which image is PING and which is PONG. Do not define these terms.
Allow students to define their own criteria for these two nonsensical
words. Keep repeating the word throughout
the exercise. They can record answers
on a sheet of paper divided into two columns, one for PING and one for PONG. Follow up by reviewing the images and
discussing the many reasons why particular students made certain choices. The responses will be varied. Encourage elaboration of responses and
prompt incomplete statements. Their
answers must be based on their direct observation of the paired images. Keep in mind the criteria for selecting
“pingness” and “pongness” do not have to be the same throughout the
exercise. A different criterion might
be used for each pair.
Finally, debrief by asking
them why they did the exercise.
Answer? Each person can have a
different interpretation and everyone will be right, as long as visual support
comes from the images before them.
Picture Round Robin
Have enough reproductions
for each student in your class (i.e. postcards). Place them around on the desks throughout the room (make sure
that any factual information is covered up).
Beside each image place a piece of paper. Students should write number 1 at the top of the margin. Ask students a question about their image (see
questions below). Give students a
minute or so to write their answer on the paper. Stress careful observation.
Once everyone is done, have the students fold their paper back so that
their answer is no longer visible and move to the next image. Repeat process until all questions are
answered and everyone has moved around the room. Timing and numbers of questions will depend on the students. Students return to their starting point and
read the accumulated statements about their image. Complete a full description of that image using the compiled
information OR create a poem using some or all of the words and
phrases. Have the students do further
research about this image. Devise other
questions that could be asked. Have the
students paint a picture or do a drawing as a response to this image and its
generated ideas.
The Questions
1. Write down one word that describes the
feeling that this image creates in you.
2. Write down four descriptive words about
this picture.
3. What is the dominant or most important
colour?
4. What thing stands out or is most
important in this picture?
5. What is least important?
6. Which of the art elements is strongest
in this image: line, shape, colour, value or texture?
7. Does it tell a story? If it does, explain the action in two or
three short sentences.
8. If you could place yourself in this
picture describe where you would be.
9. If you were the artist, what might you
like to change about this work of art?
10. Finish this sentence: This picture
reminds me of ......
11. If you were the artist, what might you
like to change about this work of art?
12. What might happen after the image that
you are looking at ?
13. Give this image a title of your choice.
Pictures That Come to Life
Students in small groups
select an image or slide reproduction.
They talk about the image in order to determine what is happening and
what it is all about. What are the
relationships among the people, animals or objects? What is the mood? Have
the students use some of the art inquiry questions to instigate
discussion. (A narrative, history, or
genre subject will work best)
Next, the group improvises
dialogue for the people represented in the work of art. They can essentially write a brief
script. This improvisation can also be
tape recorded. Refine the dialogue and
role that each student will play. The
group can choose suitable background music or sound effects to accompany their
dialogue. In a final presentation, the
image can be displayed prominently on
an easel or projected onto a screen or wall.
The picture will appear to come to life right before your eyes.
In the Mood
Print words that represent
various feelings and emotions, e.g., thrilling, sad, angry, jealous, joyful, on
recipe cards. Allow students to select
postcards or large reproductions and ask them to attach an emotion card to each
reproduction. Ask the following
questions as you and the class examine people’s choices:
• Why does
this image/object suggest that particular emotion or feeling?
• Why
do different people see different emotions in the same image?
• How
do these emotions contribute to the meaning of the image?
Matchmakers
Pairs of students are given
a card with an adjective, noun, verb or adverb on it. Ask each pair to find a work of art that they believe somehow
matches their word. Discuss the
choices. Alter this by having them
select a work of art that is opposite to their word.
Interviews with Famous Canadian Artists
Pairs of students first
select and research a Canadian artist, historical or contemporary, and an art
work by that person. Students devise responses to the interviewer’s questions
based on their understanding and research of the artwork. Then one student assumes the role of the
artist, while the other plays an interviewer.
Costumes and props may be used to enhance the final presentation.
Interview Questions:
• Describe your work of art for us and tell
us its title.
• Where did you get the idea or inspiration
for this work?
• Describe your way of working and your style
as presented in this painting.
• What art element or design principle is
most important in this work?
• What particular reaction or emotion would
you like the viewers to experience?
• How have you achieved this emotional
reaction?
• Why did you create this work?
Categories
Students examine a pile of
randomly distributed postcards of artworks.
After examining all the images, they must group them into categories
(example categories could be style, subject matter, shapes). Students must decide on the criteria for
each category and be prepared to explain their decisions later. Variation:
Tell students that they can have only two or three categories and all the
images must fit into one or the other.
How Good is Your Memory?
Have each pair of students
choose two images that they like from a larger pile. Once selected, give everyone three minutes to study their two
images closely. Examine details and the
larger image. One partner (number 1)
chooses one of the images and hides the postcard from the partner (number
2). Partner number 1 must try to
challenge partner number 2 by asking a question about this image that they
might not be able to answer. Switch and
try again. Discuss why certain things
were easy to recall, and why others were more difficult.
Sound tracking
As a small group, select a
painting, print, sculpture or installation.
Use realistic or stylized sounds to accompany the action depicted in the chosen art work. Try this with realistic and/or abstract art
works. Script and record a dialogue to
fit the art work. If available,
instruments could be used to underscore mood and setting. Perform the score. Could it be later be transposed into some form of musical
notation? See the scores of R. Murray
Shafer for inspiration.
Dear Theo
Have students locate two
artists who were alive at the same time.
This could be done in pairs, or by dividing the whole class into two
groups. Each member of the pair chooses
a different artist. Write a letter from
one artist to the other, inquiring about one of their works. They could ask questions about style,
medium, subject matter, etc. Use
postcards to send replies to each other.
Students can make or bring in a post card for this. Variation:
Write letters between two artists from different periods in history.
Find other ideas in: Smith, Annie with Francena Hancock. Getting Into Art History. (Toronto: Barn Press,
1993) ISBN:
96969953-0-6
Appendix I
Special Needs/Activity Modifications
Guidelines for individual modifications in Visual Arts
• Refer to a student’s Individual Educational
Plan for specific suggestions on individual modifications.
• Exceptional students should be integrated
into regular classroom activities.
• Gifted students may require enrichment
activities.
• Use a student buddy system in your
classroom to help check for understanding.
• Use a variety of teaching strategies so
that all student learning styles can be addressed .
• Modify test times, the type of test given,
due dates, assignment complexity, work quantity, and
questions.
• Use oral as opposed to written
instructions.
• Discuss modifications with support staff.
• Modify expectations where necessary .
• The report card must have indication that
the student is working in a modified environment.
• Most students requiring modified programs,
have already been identified by grade 9 - inquire with
support staff if you have a concern;
check a student’s OSR for clarification.
• Be positive. Many students with mild cognitive learning difficulties do well
in art.
• Monitor organizational assistance for
students as they set up and begin studio work.
• Use simple instructional language and
visually demonstrate vocabulary and concepts.
• Use videos to visually introduce ideas when
possible.
• Break tasks into sub-tasks. Create pictorial charts or individual work
sheets for assignment
sequencing.
• Group work should be heterogeneous.
• Plan motivational experiences that are
tactile or that connect with a larger community environment.
• Model self-questioning talk for students during demonstrations.
• Review ideas at the end of each class.
Some ideas from Issues and Approaches to Art Students with
Special Needs, Andra L. Nyman and Anne M. Jenkins, Editors, (Reston, V.A.:
National Art Education Association, 1999), p.22-23
Appendix J
Looking at Art: Critical Thinking (Feldman)
Strategies
to Organize Looking at Art...
The following methods and
approaches are presented in order to help students during their interactions
with works of art. Many of these will
assist with looking and thinking; actions that are inextricably linked and
ultimately lead to understanding.
Feldman’s
Method of Critical Inquiry
|
Describe “What do I see?” [Taking an inventory of the visual
evidence in the artwork.] At this
stage, students should be asked for initial reactions to the work of art in
question. These will be personalized
and generally, but not exclusively, superficial and subjective. Have them identify essential information
such as title, medium, artist’s name, subject matter, date of creation, size
and location. At this point, students
should be encouraged to objectively describe all visual information before
them. They should stick to visual
“facts” and avoid expressing opinions or making conjectures suggested by
symbols or clues. The evident art
elements (colour, line, shape. etc.) should be noted. Qualifying words can also be used to more
accurately describe what is seen, e.g. “The artist has painted fluffy, fat
clouds.” or “A figure in the back is thin, stooped, and heavy-headed.” This final task will allow students to
develop their use of adjectives. |
Interpret “What is happening?” &
“What is the artist trying to say?” [Discovering the purpose or meaning of
the artwork.] This is probably the
most important part of the critical inquiry process, but also the most
creative and thought-provoking part for the students. They should be challenged to find meaning
in the work through observations and analysis, but sometimes other relevant
information is necessary in order to make an informed interpretation. Students can be encouraged to do research
in order to find out about the artist or the times when the work was
originally created. This provides a
context for the art work, and simulates the kind of inquiry that art
historians practice. Interpretations
should be rich and meaningful, as much as possible. Interpretations are not really “right” or “wrong”, but can be
more or less insightful, apt, interesting, informative and reasonable |
|
Analyze “How
is the work organized?” [Discovering
relationships among the separate parts of the artwork.] Analysis is a continuation of description,
but instead of talking about separate parts, the focus shifts to the way the
parts work together. Here students
should consider how the artist/designer has made use of the principles of
design (rhythm, balance, emphasis, contrast, unity, etc.). “A good way to begin analysis is to direct
the students’ attention to the pervasive or dominant qualities of the
work. These are the large, overall
feeling qualities, mood, and characteristics.” Again, using qualitative words, students might observe the
following kinds of pervasive qualities: “The overall mood is a feeling of
heavy sadness.” Generally, the mood
is bright and cheerful.” |
Judge/Evaluate “What do I think of the
work?” [Judging the quality or
success of the artwork.] Students are
asked to make a judgment about value or significance. These judgments or evaluations should be
based on the accumulated information from the previous stages of critical
inquiry, namely description, analysis and interpretation. Sometimes other
reasons for decisions need to be introduced in order to help students ground
their judgments in specific criteria.
Imitation of appearances, or pleasing organization of form, or vivid
expression of emotions or ideas can all be considered as valid criteria for
making evaluations. |
Appendix K
Looking at
Art: 20 Questions of Art Criticism
The
Language of Art
(“20 Questions” of ART CRITICISM)
Description (Taking an inventory of the visual evidence in the artwork.)
1. Write down three questions that immediately come into your
mind as you look at this artwork.
(Afterwards, think about how you would go about finding answers to these
questions.)
2. Give the full name and nationality of the artist. What is the
title of the work?
Give the date the work was made or completed. What are
its dimensions?
In
which museum or gallery can this work be found? (Where should you look for this
specific information?)
3. What
medium and/or technique is used by this artist?
4. Can
you identify the subject matter of this artwork? (still life, landscape,
figure, portrait, genre,
narrative/history, abstraction, fantasy, allegory/symbolism) Now, accurately describe what you see in the subject matter
using specific language. Write about “the
facts” that you observe
directly. No opinions.
5. Which
elements of design are most important in this artwork? (line, shape/form, texture, colour, value) Describe where these
are located and how they appear. (Use
descriptive words/adjectives.)
Analysis (Discovering relationships among the separate parts of the artwork.)
6. What appears to be the focal point or area of emphasis in
this artwork?
How is it made so important? Is contrast present?
7. Can you find a place
where the artist/designer has used some type of rhythm in this artwork?
8. How has the artist/designer created a sense of balance in
this work? What parts of the work contribute to this balance? Is this
an example of symmetrical or asymmetrical balance?
9. How has the artist/designer used colour
to create unity in this work? Remember
your colour theory.
Interpretation (Discovering the purpose or meaning of the artwork.)
10. What specific emotions or feeling does this work arouse in
the viewer?
11. What is the subject matter?
Does it represent something else? What is this work “about”?
12. How does the title of this work add to its meaning?
13. Why was this artwork created? What purpose does it serve?
14. Who
was/is the intended audience? Was it created for a particular group or
individual?
15. Does
this work appear to belong to a particular period in history or a specific art
style?
16. How does this artwork connect with our present society or
culture? Does this artwork “speak” to
you?
Evaluation (Judging
the quality or relative value of the artwork.)
17. What
do you admire about this artwork? What are your reasons? (Look back at some of
the things that you have
already said.)
18. Do
you think this artist has been successful in communicating something to the
viewer? Why or why not?
19. Which
of the following statements best fits your reason for evaluating this artwork
as you have?
It
is accurate and honest in the way it imitates real life.
It
encourages strong emotions or feelings in the viewer.
It is visually well organized and has an exciting design.
It says something about our society, beliefs or concerns.
It presents the beauty and visual appeal of the subject.
20. How would you rate this particular artwork? Other reasons?
Poor Mediocre Good Exceptional
Appendix L
14 Questions
for Looking at an Object - Unit 1, Activity 1
1. Overall appearance: Examine the object from various angles. How do I react to it?
2. Form:
Record measurements, weights and
proportions. Is there evidence of any
repair or alteration?
3. Ornament: For any ornamentation, ask: Why is it
there? Does it appear to accomplish its
purpose? Is the overall effect the
better for its presence?
4. Colour: Does it appear to be original, or has it
been changed over time?
5. Analysis
of materials: Gather and assess
information about the individual materials: e.g. wood, metal fabric. Use any instruments needed, for example,
magnifying glass, camera, microscope, ruler.
What is the object made from?
6. Techniques: What techniques were used to construct the object? Inspect the object for clues.
7. Trade
Practices: Do any brand names,
symbols, dates or identifying marks exist on the object? Do these help to date or
give a location of origin for the object?
8. Function: Why was the object made? What were the limiting conditions imposed by
materials, techniques, and skills? What
was the intent of the maker? Can the
object have adequately performed the use for which it was designed? Does the evidence of wear occur where one
would expect if the object had been used as designed?
9. Style: Does the object have characteristics of a
certain period, movement in art, technology or society?
10. Date: When was the object made? Appearance, form and knowledge of its
evolution, ornament, and style all play important parts in arriving at an
approximate date. Look for any stamp,
signature or other mark.
11. Attribution: Who made this object? How do you know? Are you sure? In the case
of an author’s signature ask: What proof is there that this name or initials
are authentic? Can you ascribe the work
to a known artist on the basis of style if there is no signature or mark?
12. History: What do you know about the ownership of this
object? Is there any information about
the object that is documented through sales records, exhibition catalogues or
family histories?
13. Condition: Is there evidence of natural aging and wear
such as colouration, patina, softening of the edges, corners and contours? Have repairs been made?
14. Appraisal
or Evaluation: What is the
value of the object? What criteria will
this object be valued by?
Appendix M
Sample Assessment Tool - Unit 1
Teacher’s Evaluation - Grotesque Goblet - Ceramics
Rate appropriate level of
achievement under each criteria.
Quality
of Design for Container
[ ] 4. Exceptional quality
in preliminary container designs; extensive variety of 3D forms.
[ ] 3. Proficient quality
in preliminary container designs; substantial variety of 3D forms.
[ ] 2. Adequate quality in
preliminary container designs; reasonable variety of 3D forms.
[ ] 1. Poor quality in
preliminary container designs; limited variety of 3D forms.
Degree
of Sculptural Detail Used to Disguise Container
[ ] 4. High degree of
sculptural detail; extensive use of pattern or textures; decoration on most
surfaces.
[ ] 3. Appropriate degree
of sculptural detail; some use of pattern or texture; decoration on some
surfaces.
[ ] 2. Acceptable degree of
sculptural detail; pattern, texture and decoration used in obvious places.
[ ] 1. Low degree of
sculptural detail used to disguise the container; no planned textures or
decoration.
Degree
of Originality and Imagination
[ ] 4. Exceptional degree
or originality and imagination; design shows complexity, risk-taking and
wit.
[ ] 3. Proficient degree of
originality and imagination; regard for detail, experimentation and
humour.
[ ] 2. Satisfactory degree
of originality and imagination; design is complete, but little
experimentation.
[ ] 1. Limited degree of
originality and imagination; incomplete and ordinary.
Use
of Ceramic Construction Techniques
[ ] 4. Superior use of
ceramic technique; careful joining, even coils/slabs, appropriate handling of
clay.
[ ] 3. Good use of ceramic
technique; proper joining, consistent coils/slabs, satisfactory handling of
clay.
[ ] 2. Adequate use of
ceramic technique; inconsistent coils/slabs, careless handling of clay.
[ ] 1. Poor use of ceramic
technique; pieces separated, haphazard slabs/coils, irresponsible use of
clay.
Use
of Time, Commitment & Organization
[ ] 4. Efficient use of
class time; strong commitment, well organized and prepared for work.
[ ] 3. Most class time used
effectively; reasonable commitment, usually organized and prepared for work.
[ ] 2. Studio time not
always used productively; motivation and commitment lacking. Needs direction.
[ ] 1. Class time often
wasted. Poor concentration and lack of
self-discipline.
Mark = _____
20
Appendix N
Evaluation Rubric for Unit 2, Activity #4
|
CRITERIA |
LEVEL 1 |
LEVEL 2 |
LEVEL 3 |
LEVEL 4 |
|
understanding of concepts:
Quality of Cultural Symbols |
demonstrates limited
understanding of concepts; cultural symbols are simplistic and stereotypes |
demonstrates some
understanding of concepts; cultural symbols are somewhat unique. |
demonstrates considerable
understanding of concepts; cultural symbols show substantial uniqueness &
thought |
demonstrates thorough and
insightful understanding of concepts; cultural symbols are highly original
& complex. |
|
Understanding of Concepts:
Principles of Contrast & Rhythm |
demonstrates limited
understanding of concepts; contrast & rhythm are used with limited
effectiveness |
demonstrates some
understanding of concepts; contrast & rhythm are used with moderate
effectiveness |
demonstrates considerable
understanding of concepts; contrast & rhythm are used with considerable
effectiveness |
demonstrates thorough and
insightful understanding of concepts; contrast & rhythm are used with
high degree of effectiveness |
|
Application of Creative
Process |
applies the creative
process with limited effectiveness; planning is tentative or non-existent |
applies the creative
process with some effectiveness; planning is evident & shows some
divergent thinking |
applies the creative
process with considerable effectiveness; planning is substantial & shows
alternative ideas |
applies the creative
process with a high degree of effectiveness; planning is exceptional &
shows considerable flexibility in thinking |
|
Use of Equipment, Materials
& Technology: Printmaking Technique |
carving of relief plate is
haphazard and incomplete; prints are inconsistent in quality |
carving of relief plate is
reasonably effective; prints are somewhat consistent, with only minor flaws |
carving of relief plate is
accurate & complete; prints are consistent |
carving of relief plate is
highly detailed & complete; prints are consistent |
|
Making Connections |
makes connections with limited
effectiveness; little participation in group art-making |
makes connections with
moderate effectiveness; some participation in group art-making |
makes connections with
considerable effectiveness; reasonable participation in group art-making |
makes connections with high
degree of effectiveness; exceptional participation in group art-making |
|
Quality of Self-Evaluation |
demonstrates limited
reflection and superficial response |
demonstrates moderate
reflection and considered response |
demonstrates considerable
reflection and articulate response |
demonstrates insightful
reflection and highly articulate response |
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