Course Profile
Visual Arts, Grade 9 open, Public
Unit 4: Technology
Activity 1 | Activity 2
| Activity 3
The central focus of this unit is the use of technology as an artistic medium. Students use art production and analysis skills to explore problems related to image manipulation using technology. Through studio exercises, art history, analysis and interpretation, students are able to explore a variety of technologies as another artistic medium. The following chart illustrates how the unit develops the strands outlined in The Ontario Curriculum, Grades 9 and 10, The Arts, 1999. The unit utilizes the Resource Journal throughout, and provides three essential questions for teachers to address in lessons, suggests assessment and evaluation strategies, and outlines the activities in the unit.
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Unit 4: Technology 22.5 hours |
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Content focus |
Analysis: Discussion of the essential questions, recording information, drawing, observation Creation: Drawing, painting, sculpture, installation/performance Theory: Popular culture, technological media, and art making |
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Resource Journal |
Reflection, planning, data collection; note taking; drawing, artist research, issues investigation |
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Essential Questions |
How does a work of art reflect its culture? (context) How do images influence people? (production) How is art different and the same? (reflection) |
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Assessment Strategies (observable data) |
Checklists, observations, attendance and lates, work habits, etc. - see Appendix E |
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Evaluation Strategies (assigned marks) |
Scoring rubrics and scales, tests, etc. - see Appendix E |
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Activities |
Activity 1: Visual Language Activity 2: Mona Lisa For the Millennium Activity 3: Mona in Cyber Space |
· The Resource Journal should continue to be used as a learning tool in visualizing concepts; producing preliminary drawings; for gathering imagery, symbols, and related research; and for evaluating work accordingly and intermittently.
· It is important for the teacher to emphasize the use of paper and pencil methods for developing student ideas in this unit. When using technology as a medium, it can be very easy to import images and press a button to complete the image. This should be avoided. The focus of this unit is to have students learn creative process and planning as they would in any other art activity. They can then use the technology as the medium for realizing their ideas.
· 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.
· Activities are designed to meet the available levels of technology at various school sites.
· The three essential questions should be prominently displayed in the classroom so teachers can easily refer to these questions throughout the unit.
· Elements and principles of design
The teacher makes the following considerations in teaching and learning strategies.
· While it is expected that teachers are knowledgeable in the use of certain technologies, complete fluency in every application of those technologies is not necessary.
· Some students may have a facility with certain kinds of software; teachers may wish to capitalize on their expertise.
· Students can be used as mentors in the classroom.
· This unit is designed for teachers to work within the levels of the technology that are available to them.
· Career connections should be made e.g., computer graphics; the design industries, (clothing design, industrial design, information design, stage design, product design etc.); should be made to this unit.
· Use a variety of teaching strategies (see Appendix D).
· Allow for the development of the student portfolio (see Appendices C, O, P, Q).
· Take into account individual student needs in the planning of lessons (see Appendix I).
· Incorporate critical thinking and metacognitive thinking into student work (see Appendices F, G, H, J, K, R, T).
· A variety of assessment and evaluation strategies should be used throughout this unit (see Appendix E).
· The Resource File assessment criteria should be given to students at the beginning of the course and it should be used as a tool to provide ongoing assessment and feedback through all units.
· The resource file subsequently leads to the comprehensive portfolio evaluation at the end of the course (see Appendices 0, P, Q).
· The Ministry of Education Level of Achievement Chart from The Ontario Curriculum, Grades 9 and 10, The Arts, can be adapted into rubrics that fit a variety of activities.
· Self- and Peer-Assessment Rubrics (see Appendix U) are available for student reflection and can be added to the resource file.
· The Metacognition Rubrics (see Appendix T) are a useful tool to encourage students to think about thinking.
Time: 2 hours
As an introductory exercise, students examine a collection of actual objects or reproductions of art or design that represents a span of time. (See Appendix L - 14 Questions for Looking at an Object.) Ask the essential question, “How does a work of art reflect its culture?” Connections can be made with ancient art, i.e., students could look at and respond to works of art that are classified chronologically. They should also review historical methods for time notation (e.g., A.D.; B.C.; B.C.E.; and C.E).
Strand(s): Creation, Analysis Theory
Overall Expectations: VTV.01X - VTV.04X, VCV.01X - VCV.05X, VAV.01X - VAV.03X.
Specific Expectations: VT1.01X - VT1.02X, VT2.02X, VT2.03X, VT3.02X, VC1.01X -VC1.03X, VC2.03X, VC2.O4X, VA1.01X - VA1.03X, VA2.02X, VT1.01X -VT1.02X, VT2.03X, VT3.02X, VC1.01X - VC1.03X, VC2.04X, VC3.01X, VA1.01X, VA1.03X, VA2.O2X.
· Suggested collections that represent a significant span of time for students to examine and order can include portrait photographs, postage stamps, cameras, reproductions of art on postcards, photographs of automobiles, fashion illustrations, books, clothing, table ware, tools and utensils, hats, movie posters, album covers, and ads. Parents and community members may be willing to loan collections for this exercise. Garage sales and flea markets are excellent sources as well.
· Teachers need to make clear to students that technology in this unit is defined as a medium. The teacher should review the term “medium” as it relates to art. The Artist’s Handbook Of Materials and Techniques (see resource list) defines “medium” as “ …The mode of expression employed by an artist: etching, painting, sculpture, etc. and the actual instrument or material used by an artist: chisel, needle, etc… ”. Have students create a list of materials and a list of instruments. Post this in the classroom as a reference.
· About the art history examples: Students must have a sense of the chronological development of Western Art by the end of Grade 9. The examples of art or architecture should be from the Ancient period (e.g., prehistoric to Roman). Choose examples that are common in terms of subject matter or form: depictions of the human figure or architectural monuments. These examples should be presented in chronological sequence to help students see a connection with the previous “collections” exercise, as well as to help them understand how media and images change and develop through time. Teachers should also address the method that historians use to designate time (i.e., BCE = Before the Common Era and CE = Common Era) and reference centuries (i.e., 1440 CE is the 15th century).
Students should have previous exposure to art terms like medium, media, the use of the letters A.D. and B.C.
1. a. Arrange a collection(s) of objects or art reproductions so that students can easily view the contents. A wide variety of objects should be used that represent a significant span of time and that provide clues about cultural origins. See Unit Planning Notes for suggested objects. If more than one collection is available, students may be divided into groups to facilitate discussion and share opinions. In groups or as a class, students are asked to arrange these objects or images in a chronological order based upon their observations and previous personal knowledge. Use some of the “14 Questions For Looking At An Object” (Appendix L) to allow students a starting point for discussion and recording information. As a de-briefing for this activity, students must explain their decisions in creating their chronological order. Ask them to identify what makes their objects or images similar, but different.
b. Ask the essential question, “How can art be different and the same?” Have students select one of their objects or images. Ask them if they can describe something about the people/culture who created this object. Ask the essential question, “How does a work of art reflect its culture?” Refer to the 14 Essential Questions… (see Appendix L).
· In groups, give students the following statement:
As the creation of art passes through time,
many new artists’ materials develop. New ideas and media occur because artists
look for new methods and current media through which they express themselves.
Today, some artists work in media that are very different from those of the
past . Technology has now become a contemporary medium.
The focus for this activity is the media that artists use. Ask students to look at art works (and the collection of items if time permits) to find examples that illustrate how media has changed through a sequence of time. The examples that students compare should be sequenced, e.g., painting on caves as in the pre-historic times and painting on top of carved stone as the Egyptians did; carving on a softer type of stone as the Egyptians did, and carving on a harder type of stone (e.g., marble) as the Romans. Ask students why the different cultures needed to change the medium. In the discussion and activities, facilitate the idea that the change in a culture will often cause a change in the media that an artist uses. The teacher may want to sequence some questions on a handout to direct the student discussion. Using the essential question, “How does a work of art reflect its culture?” show students examples of art or architecture from the Ancient period (e.g., prehistoric to Roman), and ask them to explain something about the people and culture that created each artwork.
· Partners can transcribe.
· A tape recorder can be used for recording ideas and answers.
· Partner students who need assistance with understanding concepts.
· Fewer Visual Arts images may be necessary for some students to absorb information.
· Teachers may wish to modify assessment and evaluation practices for special needs students – i.e., assess special needs students for items listed in the IEP (individual education plan).
· A list of clues may be needed to order collections.
· Check list for student answers on the “14 Questions for Looking at an Object”.
· Resource Journal entries assessed (see Appendix V).
· Caution students who have allergies about direct contact with older objects
Chapman, Laura. A World of Images. Worcester MA: Davis Publications Inc., 1994. ISBN 0871922304
Chapman, Laura. Art: Images and Ideas. Worcester MA: Davis Publications Inc., 1992.
Hamilton, Edward A. Graphic Design for the Computer Age. New York: Van Nostrand Reinhold Co. 1970.
Mayer, R. and S. Sheehan. The Artist’s Handbook of Materials and Techniques. Canada: Penguin Books, 1991. ISBN 0670837016
Time: 8 hours
Following a discussion that leads to an initial definition of “technology as a medium”, students are asked to choose a popular historical art image. The activity then focusses on the concept of manipulation. Changing images by cutting and pasting, grids, and grid distortion exercises exposes students to some forms of manipulation. Students make visual changes to the photo images and then draw the new compositions. This drawing then becomes the basis for a painting (traditional medium) that is to be created in the next activity incorporating a contemporary medium (computer). The painting should not be larger than the size of a scanner bed/photocopier.
Strand(s): Creation, Analysis, Theory
Overall Expectations: VTV.01X –VTV.04X; VAV.01X –VCV.05X, VAV.01X –VAV.03X.
Specific Expectations: VTI.01X- VTI.02X, VT2.01X, VT2.03X, VT3.01X-VT3.04X; VCI.01X-VCI.03X, VC2.02X - VC2.06X, VC3.01X - VC3.03X; VA1.01X- VA1.04X, VA2.01X- VA2.03X.
· Visual resources should include reproductions from a variety of styles and periods (see Appendix AA). Display these clearly around the room. These visual resources could be art postcards, fine art calendars, textbooks, overheads, slides, the Internet, and CD-ROMs.
· A timeline would be a helpful classroom resource. Timelines can be purchased or made by the teacher or students for a display.
· Lesson plans should address a variety of learning styles.
· Teachers may need to review colour theory, the handling and use of paintbrushes, as well as, the elements and principles of design.
· Teachers should continue to use the Resource Journal as a learning tool in visualizing concepts. The following things should also be a part of the Resource Journal: preliminary drawings, gathered imagery, related research, assessments and evaluations of completed work, and work in progress.
· The three essential questions should be prominently displayed in the classroom so teachers can easily refer to these questions throughout the unit.
· Elements and principles of art
Exercises that practise distortion:
2. (a) Students are asked to bring to class a photographic portrait of themselves or someone else (a family member or a friend) taken from a frontal or profile view. If a digital camera is available, take simple bust portraits of each student and print them in black and white after downloading to the computer. Ask students, “ If you want to make a copy of this image, how would you do it?” Consider various responses. Many responses will make reference to photo-based technologies such as copiers or cameras. How would an artist copy this image three or four hundred years ago? “Drawing” will be the predominant response; some may suggest using a grid that is superimposed over the original to help transfer it to another surface. Introduce the grid system for copying, enlarging, or distorting an image. Demonstrate one of the simplest techniques for distorting images – cutting a photo using a simple grid system. Students use a photocopy of their photographic portrait or use the printout of their digital image. Have students lightly draw grid lines on the facial image. Horizontally, draw the lines in four places: above the eyebrows, at the mid-point on the nose, below the lower lip, and at the midpoint of the neck. The same procedure can be followed for the vertical lines of the grid. Use three vertical grid lines: the first line goes down through the left eye and cheek area; the second line goes right down the centre of the face; the third line goes through the right eye and cheek area. Using scissors or an x-acto knife, a cutting mat, and a steel straight edge, cut the photo on the grid lines. Students adjust the proportions of the face by manipulating the pieces. The teacher can ask them to try many different variations to create different emotions, such as humor, horror, sadness, etc. When the most successful arrangement is found, it is glued in place on a page in their resource journal using a gluestick.
(b) A further application of grids can be explored by having students use ruled acetate sheets placed over their photo originals. On another piece of paper, have students draw a grid with the same number of squares. They could make the grid larger or smaller than the original image so that they can see how to manipulate size. Copy each square of the image into the corresponding square on the drawing surface until the entire portrait is reproduced. Have students do this exercise in their Resource Journal. Design: The emphasis here is on the design element of line and quality of lines. Keep these drawings simple. This is only an exercise to illustrate grid use.
(c) Take this exercise one step further and have students create distorted grid drawings by simply altering the shape of the grid on the drawing surface. If time permits, these drawings can be finished using colour or shading.
· The times we live in are known particularly for the development and presence of technology. Ask students working in pairs or groups to create a list of new technologies that our culture has developed.
Review the meaning of the word “medium”. When they are confident they have a working list of technologies (see 2a), have them look around the art room at displayed examples of artwork that use new technologies as a medium for expression. As a class, compile a list of new technologies. Have students decide on how technologies can be used as media by artists. Post this as a reference in the classroom.
· (a) Draw students’ attention to the fact that they used a very old form of technology when they did the grid drawings in their Resource Journals. Some artists continue to use this technique of reproduction today. Also make students aware that they used a very new form of technology (photocopy, digital images, etc.) as a medium to create their first distortion image.
(b) Show students historical examples of art (e.g., Da Vinci’s Mona Lisa and Warhol’s Marilyn). Ask students to look again at the two portrait images of Mona Lisa and Marilyn. The teacher can ask such specific questions as:
I. What are the differences between these two portraits? How are they the same?
II. How does each picture make you feel?
III. Which of the two works do you prefer? Why?
These questions can lead to thought around the essential questions:
How does a work of art reflect its culture?
How is art different and the same?
How do images influence people?
Students could write a reflective paragraph in their Resource Journal addressing one of these questions.
· The teacher may wish to use this opportunity to invite in a speaker, take a field trip to a local gallery or conduct a lesson on careers that preserve (e.g., art conservation) or alter images (digital designer). The restoration of the Sistine Chapel could be discussed here, as well as the restoration of Da Vinci’s Last Supper [National Geographic issues May ’94, May ’89, Nov. ’83; 60 Minutes (CBS) May 30,’99; The Globe and Mail Sat. May 29, ‘99].
· (a) Have students sort through examples of famous works of art that have high recognition factor (see Appendix AA). They choose a picture to manipulate and modernize. It may still contain evidence of the original period, but it may also include additions (e.g., Mona Lisa at a computer or with a punk hairdo). Students can consider how their interpretation will influence people. The teacher designs a series of drawing exercises for students that can be done in their Resource Journal. Ideas need to be developed and composition needs to be addressed before students prepare the final copy of their work.
(b) Students are to draw and paint their picture.
Note: Since this work will be used in the next activity with a scanner or photocopy bed, limit the size of the painting to accommodate your available technology.
· Partners could transcribe.
· Photocopies of board work/definitions could be provided for students unable to transcribe.
· A tape recorder could be used for recording ideas and answers.
· Peer tutors or educational assistants to assist with painting.
· Teachers may have to pre-cut face pictures for students with fine motor skills disabilities.
· Scissors may be a preference for some students.
· A teacher may want to set up a system for peer tutors within a class to assist students with special needs.
· The initial drawing for painting can be assessed using the categories: unsatisfactory, satisfactory.
· Criteria for painting should be designed by the teachers and students.
· The teacher’s anecdotal comments regarding class collaboration should be included.
· Proper ventilation must be provided according to paint type. Oil is not recommended.
· Plan strategies for the complete daily clean-up of the studio after each lesson.
· Students should never eat in the art room.
· Teachers should review the safe use of the x-acto knife.
Brommer, Gerald F. Discovering Art History. Worcester, M.A.: Davis Publications, 1988. ISBN 0-87192-190-1
Brommer, Gerald F. and Nancy Kinne. Exploring Painting. Worcester, M.A.: Davis Publications, 1988. ISBN 0-87192-191-X
Janson, H.W. History of Art for Young People. New York: Abrams, 1971.
Martin, M. Start Exploring Masterpieces. Philadelphia, PA: 1981. ISBN 0-89471-801-1
Strickland, Carol. The Annotated Mona Lisa. Kansas City: Andrews & McMeel, 1992. ISBN 0-8362-8005-9
Roukes, Nicholas. Art Synectics. Worcester, M.A.: Davis Publications, 1982. ISBN 0-87192-151-0
Roukes, Nicholas. Design Synectics. Worcester, M.A.: Davis Publications, 1988. ISBN 0871921987
Time: 9.5 hours
In this activity students explore the question “How is art different and the same?” By taking the traditionally created painting from Activity 2, students manipulate their image using current technology to explore the impact of the medium. It is recognized that the current level of availability of technology varies from school to school and within a school. The activity has been designed to work with simple technology and may evolve with time to a more complex level technology, depending on the available expertise, equipment, and software.
Strand(s): Creation, Analysis, Theory
Overall Expectations: VTV.01X, VCV.01X -VCV.05X, VAV.01X -VAV.03X.
Specific Expectations: VT1.01X-VT1.02X, VT3.01X-VT3.02X; VCI.01X - VC1.03X, VC2.01X - VC2.06X, VC3.01X -VC3.03X; VA1.01X -VA1.04X, VA2.01X-VA2.03X
· Teachers need to arrange the use of any shared technology for this activity (photocopier, darkrooms, computer labs, etc.) well in advance.
· Students who are advanced in their use of technology can provide leadership and assistance as experts in technology hardware and software within the classroom.
· The teacher’s role in a classroom that employs technology is to ensure that students apply creative problem-solving skills and expertise for the elements and principles of art and design, to the medium of technology.
· Teachers need to check the availability of Ministry software, e.g., Corel Suite, as it is provided free to school boards. Ask the key computer person at your school or board for assistance.
· Software suitable for this type of activity would also include tessellation software, and drawing, painting, texturizing, animation, and morphing software.
· If you are using a scanner, it must have character recognition software. It is usually best to attach it to a stand-alone computer rather than a network to avoid problems.
· If you are working from video to computer, you need video capture software.
· Timing for the activities may vary depending on the accessibility of equipment. You may find you need to run two activities simultaneously.
· Some students have very sophisticated equipment at home and will want to work there. The submitted piece must be done in class to show evidence of their learning. Work done at home may be used as enrichment.
· Elements and principles
3. (a) In Activity 2, students created a traditional painting. Have them manipulate that painting to create a variation on the theme. The purpose of this activity is to have students create a parody by changing the original intention or meaning of the work, (e. g., change “Mona Lisa to Moe Lisa” by changing the gender or by placing the figure of Mona Lisa in a different setting, such as, in an industrial park). Students can use any new technologies that are available to a class as the media. The image must show purposeful manipulations made to lines, shapes, textures, colours, and values to a student’s first design so that creative problem solving can occur. Use the Resource Journal to work out the design problems and to work out ideas. The teacher and the class create a rubric, so students are clear about what they will be evaluated on.
“Technology used as a medium” allows the artist to combine traditional skills with a new medium. An artist can rework the surface of a painting by adding collage and overlaying pencil crayon, pastels etc. They could also rework the surface of a picture using technology. All media allow artists to produce images that can be enjoyed on a screen or painted, drawn, or carved on a surface. Use the painting produced in Activity 2 as a starting point for students. Choose an available level of technology to have students manipulate the image. See the options below for possible ways to work with the image. Have students keep in mind the various techniques they listed in Activity 1 as additional possibilities for working with their image.
Option “A”
1) Photocopy the image and distort it by cutting with scissors or an x-acto knife.
2) Use collage techniques to work parts of the surface.
3) Work the image further with pencil crayon, pastel, resist, monoprint, etc.
4) Apply overhead overlays of words and/or symbols.
5) Photocopy the painting and transfer to an overhead transparency. Use this as a negative to create a photo-silkscreen.
6) Print in the style of Warhol, using multiple imagery.
7) Photograph the image using a Polaroid camera. Use a Polaroid transfer process to change photographic image.
8) See Design Devices For Creative Thinking (Appendix Z)
Option ”B”
1) Scan the image into the computer.
2) Using simple photo manipulation software, further change the image using some of the techniques from Activity 2 or Appendix Z - Design Devices for Creative Thinking
3) Further work the image with either pencil or brush tool.
4) Add text to the finished image and print onto photo transfer paper. Iron onto a T - shirt.
Option “C”
1) Use a digital camera to photograph image. DPI (dots per inch) will have an effect on the visual impact.
2) Download image into the computer. Have students choose one filter to apply to their image that further enhances it (e.g., Cutpaper in Photoshop). Students then work the image with pencil and brush tools and change the colours and contrast to create a completely “modernized” an image.
3) See Appendix Z - Design Devices For Creative Thinking.
(b) Depending on which type of technology is used, and the approach taken to activities in Unit 3, the teacher may want to supplement the activity with:
· a lesson demonstrating collage techniques;
· a lesson on layout design;
· a lesson to teach students about the software.
(c) When finished, have students display the original painting and the finished technology piece. The class should carefully examine the results and answer the essential question, “How is art different and the same?” A further examination of works of art from the past can support how technology as a medium and can change the way we see things (e.g., self-portraits by Van Gogh, Warhol).
· In their Resource Journals students can answer the following three groups of questions: What did I add to my new design that is different from my original painting and, why did I add these things?; What did I take away from my original painting and why did I remove them?; and What other interesting possibilities could I have tried to achieve an interesting design, and why do I think this would work? Students could also prepare a reflection chart about the use of technology as a medium in their own artwork.
· Peer tutor or educational assistant can assist with the scanning process and use of software.
· A tape recorder can be used for recording ideas and answers.
· Some students may need to use a simpler version of software or limit the number of “tools” (capabilities) from a software package.
· Computers may not be a practical medium for some students (perhaps a photocopier would be better suited for some).
· The teacher and students could design the criteria for the final student product.
· The teacher should make anecdotal comments regarding problem solving and design.
At the conclusion of this unit, the teacher will have evaluated all of the performance tasks or projects from Units 1 – 4. The final portfolio assessment should only be based on the interview/presentation skills displayed by individual students. See Unit 5, Activity 1 for more clarification. See Appendices O, P, and Q for additional information regarding portfolio assessment. The interviews can be scheduled while students work independently on Activity 5 in Unit 5. The portfolio assessment is considered as a portion of the 30% final evaluation for Grade 9 in this profile.
· Students need to be reminded of proper safety procedures around photocopiers, scanners, and computers. This should include not looking into a bright, active bed of a photocopier or scanner, posture at the computer, feet on the floor, keyboard level with naturally crooked arm.
· If using a darkroom or developing emulsions, there should be proper and adequate ventilation.
· Students should not place their protected or unprotected hands in chemicals.
Ballinger, R. Layout and Graphic Design. Scarborough, ON: Van Nostrand Reinhold, 1970. ISBN 0-442-20178-8
Kojima, H. and I. Takenobu. Digital Image Creation. Berkley,Ca.: Peachpit Press, 1996. ISBN 0-201-88660-X
Leland, N. and V. Williams. Collage Techniques. Cincinnati, Ohio: North Light Books, 1994. ISBN 0-89134-563-9
Parker, R. Looking Good in Print. Research Triangle Park, NC: Ventana Communications Group, Inc., 1993. ISBN 1-56604-047-7
Lapow Toor, M. Graphic Design on the Desktop. Scarborough, ON: Van Nostrand Reinhold, 1994. ISBN 0-442-01786-3
Williams, R. The Non-Designer’s Design Book. Berkley Ca.: Peachpit Press, 1994. ISBN 1-56609-159-4
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