Stratford School Academy Schemes of Work

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1 Number of weeks Content of the unit Assumed prior learning (tested at the beginning of the unit) 16 Students will interpret and explore how ideas and meanings are conveyed by artists. They will explore new methodologies including pointillism, photorealism and Pop Art. Students will explore the work of various artists, including Roy Lichtenstein, Shepard Fairey, and Georges Seurat. They will fine-tune their fine art skills, including rendering techniques and project development. They will use various forms of digital media to create artwork. Students will further develop their refinement skills including appropriate ways to experiment and explore works of others. Student s technical skills will be broadening and they will understand how to render tone and colour from Year 8. They will be able to create basic 3D sculptures. They will have explored various approaches to media, including watercolour and acrylic. They will have looked at perspective and be able to incorporate that into compositions. Students will be used to evaluating their own and others work orally; written evaluations will be more involved and personal to their work and work of others. Assessment points and tasks Written feedback points Learning Outcomes (tested at the end and related to subject competences) Week 1 A5 Secondary Source tonal pencil portrait Week 8 - Students to create a text portrait involving written work, typography and personal ideas Lessons KNOWLEDGE & COMPREHENSION ANALYSIS APPLICATION CREATION & EVALUATION Week 13/14/15 Students create a piece of artwork based on their knowledge of manipulating artwork via digital media I can ask intuitive questions I can reproduce the work of others showing an understanding of the processes I can use key words and the correct terminology when writing about my ideas and research I can ask intuitive questions and research to find the answers I can use my pencil with control and expression The strength of my line is suitable for the work that I am creating I understand how to use composition to create different emotions or tension I have used ideas offered by other artists alongside my own appropriately and creatively I can experiment with a variety of materials and processes to select the best media for my work I can create a sense of reality using a variety of materials I can show that I have learnt new skills that are specific to the project I have undertaken I can begin to evaluate my work showing some sensitivity Page 1 of 5

2 Lesson Clear learning intentions Clear success criteria Hook Presentation of content Guided practice Independent practice (homework) 1 use their measuring skills to transfer an image across the page TINIE TEMPAH LQ: How do we transfer an image across without using the grid method? L4:Attempt to create a copy of the image through guideline work L5:Good use of measuring techniques to create suitable proportion L6:Pencil used at slants to measure angles L7:As L6, including effective of tone measured this lesson, students will discuss in teams how they would go about the main task. Nominate one person to write three main points. Progress can be identified when teams discuss extra methods at end of lesson TRANSFER DRAWING All students to measure an A5 box on their landscape page and stick in A5 Tinie Tempah image. Using various measuring skills, make an accurate, proportional study of Tinie Tempah. All students will produce a pencil study of Tinie Tempah Most students will begin to use finger/thumb technique with high accuracy SEN/LOW Feint outline of shapes to practice fine line. Student to use shading technique to shade in all shapes, showing varying degrees of pressure. MED: Guideline help, filling in where necessary. High: Finger and thumb method training the eyes Complete the study using a tonal pencil (2B/4B Closure Students to do book look. They can choose their favourite, then whole class debate. 2 identify qualities in successful watercolour mixing TINIE TEMPAH outline and watercolour mixing LQ: Using watercolour, how can I show lighter tones when painting without always using white watercolour? Noticing how much black or white or water do you need? L4: Able to mix watercolour with water to create various shades L5/6: Able to identify specific shades via black watercolour and water L7: Able to show sensitive skill in creating smooth, line free watercolour shading this lesson, students start by creating various tones of grey using black watercolour and various degrees of water and white. They will show progress made subsequently through their Main Task. ABSTRACT SHAPES AND SHADES All students will produce a page of abstract shapes and also a grid. Abstract shapes for warm colours, grid for cold colours. Most students will begin to use directional painting Some students will use their brush with high accuracy (not going over lines, gently flattening brush, gently wiping colour onto brush) SEN: Differentiate as appropriate. Shading/Measuring tutorial. One on one. Very low ability students can colour in pre-defined shapes using correct shades. Bigger brush, bigger shapes. Look up the work of Kelvin Okafor. Which shapes are easier to complete and why? What colours do we associate with warm and cold colours? Why is that? 3 TEAMWORK All students will show an understanding of good teamwork. LQ: In teams of 4, how can we create a whole image using 4 quarters? How will we go about this? What makes good teamwork? L4: Able to identify various shapes that make up the Tinie Tempah portrait and attempt to copy them L5: Able to identify shapes correctly, copy them gently using good proportion L6: Refined line drawing with excellent proportion Show students Kevin Okafor YouTube drawings. How does he do it? Measure, proportion, tone. As in Y8 project shapes and reflections, we are just drawing shapes. TINE TEMPAH DRAWING 1/4 Students will work in teams of 4 to create a complete drawing of Tinie Tempah. They will just do the contours of the shapes in preparation for painting it the following week(s). They will need to line their images up and double check their work matches up correctly. Students will need to work well in teams for high consistency. SEN: Different teams tracing shapes down (graphite). Using pencil for shading in next lessons. Complete line drawing in preparation for next lesson painting Which part was most/least challenging? Page 2 of 5

3 4&5 TEAMWORK identify qualities in successful watercolours TINE TEMPAH WATERCOLOUR LQ: Using watercolour, how can I show various skin tones? What are we painting? Contours, shapes, blobs, curved L4: Able to mix watercolours to create various shades L5/6: Able to identify specific shades via black, white and secondary colours. L7: Able to show sensitive skill in creating smooth, line free watercolour shading How rich can you make the colour red? (Mixing crimson and vermillion, with the perfect ratio of water to paint). Practice ratios of warm colours to cold colours, amount of water to colours, white to colours, etc. TINE TEMPAH WATERCOLOUR All students will produce a page of abstract shapes and also a grid. Abstract shapes for warm colours, grid for cold colours. Most students will begin to use directional painting Some students will use their brush with high accuracy (not going over lines, gently flattening brush, gently wiping colour onto brush) SEN: Differentiate as appropriate. Painting/Measuring tutorial. One on one. HIGH: student to use blotting techniques and sharp/flattened area of square tipped brush Leave books to dry. Who is Georges Seurat? (Prep for next lesson) What s the best advice to give someone who is using watercolours? 6 use a pencil to create a side shade technique SIDE SHADING LQ: Using past knowledge of various shading techniques, how can we create blurred, grainy edges to our work? Why would we do this? When could we use this? L4: Attempt to create form through shading L5: Good use of directional shading to enhance form L6: Differentiated pressure to show various differences in texture and form L7: Sensitive use of side shading using an affective mixture of gradients from 2B to 4B this lesson, students will have 3 minutes to draw & shade a sphere using an HB, 4B or both. Under the sphere, write down at least 2 skills used to complete this task. Using the side shade technique, make a tonal study of Man Seated. All students will produce a Georges Seurat side shade technique Most students will adapt their pencils to the task (blunt / sharpen) with real depth of tone SEN Feint outline of shapes to practice fine line. Student to use shading technique to shade in all shapes, showing varying degrees of pressure. LOW: Traced outline, filling in shaded gaps where necessary. High: Extension - Viewfinder for partial, double scale and use side shade technique. Complete the pencil study. Students do a book look and choose a book they feel they can comment on. Students to explain to their peers what they need to do to improve/finish their work 7&8 of Pointillism, using black and white acrylic paint. ACRYLIC DOTS LQ: Using our knowledge of shading, how can we create tone, using dots? Attempt to create various shades of grey L5: Good use of colour mixing to create form in dots L6: Differentiated greys to show various differences in form L7: Sensitive use of cotton bud to show affective application of dots All students to map out the shape of the face and body (Notice: moustache, collar, tie, jaw-line). This should only take 10 minutes. PowerPoint slides of Seurat pointillism techniques and artwork ACRYLIC DOTS All students will produce a study in acrylic using the pointillist technique. create tones. using mark making, not just dots *Higher level to recognise and mix a wider variety of grey shades with more fluency first with black dots. High: Notable use of mark making, not just dots. Students to look up the work of Roy Lichtenstein. Who is he? Explain him in one sentence. Which part was most/least challenging? 9 create a portrait n the style of Lichtenstein, using felt pens ROY LICHTENSTEIN FELT PENS LQ: Who is Roy Lichtenstein and what is he most well known for? What is his style? L4: Attempt to create clear contours and line for clear sharp contours L6: Highlights created for the darkest L7: Uniformed pattern of dot and variable thickness of line in some All students to look at PowerPoint of Lichtenstein images and the DC Comic style, which inspired him. Students to discuss similarities and differences to Seurat s art. ROY LICHTENSTEIN FELT PENS All students will produce a study in acrylic using the pointillist technique. can be created using black acrylic for the eye first with black pen. Using felt pens, complete portrait Students to watch a video of Lichtenstein being shown at the Tate in 1968 (some of the public weren t amused) Page 3 of 5

4 10 of Lichtenstein, using red acrylic paint. All students will present their findings using worksheet LQ: What tools can we use for dots? tracing for clear sharp contours L6: No differentiated pressure (vertical dip onto dotted area) L7: Sensitive use of cotton bud to show affective application of dots All students to set up their painting stations: blazers off, aprons on, sleeves up; water pots, brush, paper palettes, cotton buds and blotting tissue. Trace over EYE and mark a dot in the centre of each Ben Day red dot. ROY LICHTENSTEIN ACRYLIC All students will produce a study in acrylic using the pointillist technique and present their work using worksheet can be created and complete most of the worksheet and complete worksheet to a high standard using black acrylic for the eye first with black pen. Students to complete WHAM drawing and worksheet Students to watch another video of Lichtenstein montage of his works and/or 50s/60s Marvel cartoons 11&12 create a typography portrait by looking at the art/text portraits of Sean Williams BOB MARLEY TYPOGRAPHY tracing and filling in spaces with letters L5: Good use of typography placing L6: Appropriate sized fonts for particular (small/large) L7: Imaginative use of typography to create tone within image All students graphite the back of Bob Marley stencil and tape down into book. Trace around all contours. Bubble writing demo. All students use PowerPoint slide for keywords that can aid the bubble writing / filling in of spaces on Bob Marley typography drawing. No filling in of shapes. SEN/LOW: To write words instead of block lettering MED: Copied fonts HIGH: create individual styles of font Complete Bob Marley text portrait. Listen to Bob Marley Playlist and write down 5 more keywords. 13&14 use a paintbrush, using black and white watercolour paint. SELF PORTRAIT WATERCOLOUR BLACK AND WHITE LQ: Using our knowledge of brush techniques, how can we create fine, sharp edges to our work? L4: Correct use of brush handling (wipe, apply, wipe and mix) L5: Good use of colour mixing to produce greys when needed L6: Sharper more refined contours with rich blacks and grey (appropriate ratio of paint/water) All students to graphite back of image and tape down to page. Sharp pencil to trace all contours/shapes. Show black and white version of everyone s portraits. Get students used to seeing their faces. SELF PORTRAIT WATERCOLOUR Portrait is based on teacher taking photos of students and making 3 copies for each. One colour, one black and white, one monochromatic Photoshop) All students will produce a self portrait painting in watercolour Most students will adapt their brushes to the task and will recognise contours. using blending techniques (less / more watery) Differentiated via complexity of Photoshopped image. More complex SHAPES and SHADES for higher-level students. Book look / Gallery walk of student assessment. WWW / EBI 15&16 use their measuring skills to transfer an image across the page SELF PORTRAIT ACRYLIC BLOCK TRACING LQ: How do we transfer an image across using quarter grid method? L4: Attempt to create a copy of the image through guideline work L5: Good use of measuring techniques to create suitable proportion L6: Pencil used at slants to measure angles L7: As L6, including effective of tone measured All students to graphite back of image and tape down to page. Sharp pencil to trace all contours/shapes. Painting stations ready SELF PORTRAIT ACRYLIC All students will produce a pencil line study of their self-portrait Most students will begin to use finger/thumb technique with high accuracy and will have moved onto A3 version doubling scale in prep for chalk pastels Differentiated via complexity of photograph. More complex SHADES for higher-level students. More contrast and brightness for lower level students. Complete all quarters. NO SHADING. Teacher to copy their line drawings onto cartridge paper x 2 copies each. One A4, one A3. Watch YouTube videos of Marcello Barenghi s can of Pepsi mixed media drawing. Page 4 of 5

5 17&18 of Shepard Fairey, using mixed media (acrylics and felt pens) LQ: Who is Shepard Fairey and what is he most well known for? What is his style? Why make political Art? tracing for clear sharp contours and good attempt at colour mixing L6: Higher level version of OBEY EYE and sensitive application of paint L7: Sensitive use of colour mixing to show affective application of paint for OBEY EYE All students to set up their painting stations: blazers off, aprons on, sleeves up; water pots, brush, paper palettes.. Trace over OBEY and prepare station to use either acrylic, watercolours, or felt pen for the main characteristics. SHEPARD FAIREY All students will produce a study in a media of their choice of Shepard Fairey s OBEY / OBEY EYE- TEARDROP All students will recognise the qualities in medias chosen and how to prepare stations Most students will use their media using black acrylic SEN/LOW Felt pens (Larger eye) MED: Filling in red area first with red pen. What four or five letter word would best describe you? Positive and inspiring. Students to watch a video of Shepard Fairey talking about his creation of OBAMA HOPE All students will work towards a final piece using any knowledge and expertise learned since the project began. LQ: Based on the project Manipulated Portraits, what ideas do you have for creating your own Final Piece? L4: Create a brainstorm and employ it to create a direct copy for their final piece L5: Good use of brainstorming and begins to develop own ideas L6: Higher level developing, learning how to refine appropriately and develop ideas based on possible further research All students: Brainstorm Record ideas Further develop their ideas Refine and experiment their ideas Create their Final Piece FINAL PIECES All students will create a final piece employing skills and interests learnt throughout project SEN: More directed tasks, less complex refinement, and experiments suited to individuals Last week of project. Students to assess own work and each other s EVALUATIONS and remaining CATCH UP WORK. Show students some or ALL of the following artists: BARBARA KRUGER (paper, typography, photographs) CHUCK CLOSE (photorealism) JEAN-MICHEL BASQUIAT (abstract, naïve) DAVID HOCKNEY (photomontage) L7: Sustained development based on previous experimentation. Less teacher led ideas for final piece. Page 5 of 5