Exchanging Practice

Introduction Aims Headlands School and Community Science College Wolfreton School Beverley Grammar School South Holderness Technology College

Introduction

Art & Design Departments
Headlands School and Community Science College
Wolfreton School
Beverley Grammar School
South Holderness Technology College

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For further details of the 'Exchanging Practice' initiative or for any other information please contact:

David Mell, Teaching and Learning Consultant, Creative Arts
Tel: (01482) 392466
E-mail: david.mell@eastriding.gov.uk

Aims

The 'Exchanging Practice' Project is aimed at providing Curriculum Network Support for Heads and Teachers of Art & Design and Music Departments from the East Riding's Secondary Schools.

The initiative is identified in the East Riding's Education Development Plan.

The purpose of the programme is:

• to create supportive networks for the inter-change of ideas and practice for the secondary Art & Design and Music communities
• to create a programme of 'exchanging practice', where secondary teachers of Art & Design and Music are enabled to share with each other, aspects of their current and planned provision for their subject
• to disseminate exemplar materials and models of good practice, utilising a variety of formats and media, which serve to illustrate how schools have successfully approached one or more subject related issues, challenges or problems
• to promote and support approaches to teaching and learning in Art & Design and Music, which are creative, challenging, open-ended and involve risk- taking

• 'Exchanging Practice' is aimed at Secondary Art & Design and Music departments, in schools where aspects of their provision have been identified and prioritised for further development and departments where there is good practice in Art & Design and Music provision
• Involvement in 'Exchanging Practice' will enable Departments to consolidate their work, to share and celebrate their achievements and to signpost areas for future development, through published and digital media, and to share these with the wider Art & Design and Music education community

Headlands School and Community Science College

Ian Blott, Head of Faculty - Art, Design & Technology

Exchanging Practice: Headlands School

The Team Policy for the Effective Provision for Able and Talented Children Sub Policy for the Effective Provision for Able & Talented Children

The Team

Headlands School & Community Science College, Department of Art & Design

Able & Talented Provision

Policy for the Effective Provision for Able and Talented Children

In line with normal school practice a departmental policy should sit within the whole school policy but there should be allowances that cater for a degree of acceptable diversity within the context of various subject-based criteria.

The policy itself should create the outline for the work ahead and should give direction to both the short term and longer term action planning.

1. Rationale:

Our aim should be to spark an interest in, and enjoyment of, the Arts as early in a child's life as is possible, and then nurture that throughout the child's educational career. Most of us form our attitudes to life, and develop talents and skills, while at school. It is vital therefore that schools are able to offer opportunities in the Arts which are open to all pupils and that they enable those who wish to pursue a particular talent or creative ability to do so.

2. The target group (which should be inclusive rather than exclusive) shall be established through departmental discussion and

• will constitute an area of development within the school that meets the needs of a particular group of children

3. A set of applicable criteria will be established by which students in Art & Design

• can be judged as being able and talented

• accepted by a team of subject specialist teachers who will, through negotiation, planning and assessment, monitoring and evaluation, implement relevant strategies for the effective development of the target group

Click the image to visit a complete gallery of artwork from this artists' school

These strategies will enable

• children or students the opportunities to observe, work with and taught by professional artists, craftspeople and designers. They will encourage visits to local and national galleries, museums, studios and exhibitions on a regular basis
• exhibition opportunities and access to local, regional and national art competitions

5. Strategies for identification

• will be outlined in the document 'Establishing Criteria for Able and Talented Children in Art & Design'

6. A subject checklist will

• identify the characteristics of children or students deemed as able or talented in Art & Design will be posted in the relevant places..

7. A sub-policy will be constituted which will cater for more practical applications within Art & Design and will through departmental negotiation deal with the following:

• strategies for classroom provision
• strategies for additional activities
• how assessment caters for able and talented pupils
• parental support
• resources
• in-service requirements for staff
• monitoring and evaluation

Sub Policy for the Effective Provision for Able & Talented Children.

Strategies for Classroom Provision
Very able children in Art & Design:

• need the opportunities and sufficient time to choose and practice their own skills and abilities
• need to have their work and achievements evaluated, challenged and appraised with enthusiasm and honesty by their teachers
• should have access to books, magazines, CD Rom etc. in order to provide variety and study in depth and breadth
• should be provided with the opportunity of working with other gifted pupils
• should be encouraged to promote originality and personal response

Strategies for Additional Activities (Enrichment Programme)

A good deal of 'enrichment' should take place through normal classroom practice but this needs to be complimented by specially organised sessions outside of the regular timetable.

The Art Department will focus on:

• after school activity
• visits to galleries, museums, exhibitions etc
• providing relevant support materials with books, videos, CD Rom and slide library

Enrichment sessions will strive to:

• extend subject contact time and provide flexibility
• allow grouping across the age range (vertical)
• provide opportunities for more unusual activity
• bring together children of similar interests - a gathering of minds
• involve a team of subject based staff offering a wide range of experience and skills
• encourage further development in a child's own time
  
• clearly indicate to parents and others the intent of the department to take provision seriously

Monitoring and Evaluation

It is important to monitor and evaluate effective provision for able and talented children so as to establish confidence in the departmental policy, improve procedures involved, strengthen weaknesses and organise future action planning.

The process of monitoring and evaluation should be carried out by those involved

• the children themselves (especially true of able and talented)
• parents or guardians
• departmental subject team
• a school Able & Talented Pupils Co-ordinator
• the person responsible for monitoring and evaluating policy

Monitoring is required to make sure that there is effective provision and that

• whole school policies are implemented
• departmental policies are put into practice
• grouping arrangements exist
• there is a review of the target group needs

Evaluation is needed so that it can be judged how effective the provision is and

• how effective the policies are
• if pupils feel challenged
• if staff are confident in being able to identify and provide for able and talented pupils
• if there is a strong pupil evidence of success
• to consider value added*
• measuring what a child can do at different points in time to see what improvements have been made

Parental Support

A combined understanding between department and parents is the best way of producing encouragement and support for a child.

There are important parental and pastoral issues at stake when identifying able and talented pupils:

• how much motivation is from the child and how much from the parents
• when a child is able and talented how much of a lead should the department take in how far they should go
• if a child has exceptional ability in one activity e.g. painting then how far should the specialism be encouraged and how far should breadth be maintained
• is 'burn out' a possibility if the balance with other subjects is not maintained

There are some simple things that can be done by parents to help promote good departmental practice:

• recognise that the department is trying to encourage all abilities of child
• communicate with staff by informing them of a child's achievements or particular talents
• encourage ability and talent for the child's benefit and not for the reputation or satisfaction of themselves (the parents)

In return it is important that:

• the department keeps parents informed of the development of their children's ability or talent
• understand that although able and talented pupils can produce enjoyment and excitement they can also be the cause of stress and concern in some families

Resources

The most important resource of all is human resource - this applies to children of all abilities.

We often forget that people are more important than anything else and the role of the classroom teacher is crucial.

However, a department should have the support of others, in particular the school, through an Able and Talented Pupils Co-ordinator, the Senior Management Team (led by the Headteacher) and if possible an appropriate budget allowance.

• the role of the classroom teacher is crucial
• some financial resource can be a motivator or catalyst for effective provision
• materials need to be carefully selected by following a series of guidelines:
  • look at curriculum principles and needs
  • establish a good, sound departmental policy
  • look at existing materials
  • plan how to extend resources to meet effective provision

It is possible to use:

• specially produced materials
• your own materials

INSET (In-service and school support)

Although budgeting within a school may be tight it might be possible to provide a fund to support enrichment activities.

This can also be used as further evidence of a school recognising the able and talented.

Some of the areas that can be covered are:

• supply cover when staff are involved in specific enrichment sessions
• INSET provision
• Representation at suitable conferences
• Support able children in special events when they have financial difficulties
• Purchase enrichment materials to support departmental budgets

Support in school can be provided from a number of sources:

• the Senior Management Team - along with the Headteacher they can take a positive lead, giving departmental policy status, resources and credibility (this can apply to a school policy too)
• the Governors - a governor could be appointed with specific links to any able and talented pupils programme and could become involved in INSET sessions or departmental enrichment programmes *'School Governors and More Able Children' by Deborah Eyre (NACE/DfEE)
• the school, might ask each department to provide a link person with specific responsibility for able and talented pupils
• the LEA often have advisory staff for this kind of work

Click the image to visit a complete gallery of artwork from this artists' school

For further information on these materials or for any other information regarding Art & Design or Able & Talented at Headlands, please contact:

Ian Blott, Headlands School and Community Science College,
Sewerby Road
Bridlington
East Riding of Yorkshire
YO16 6UR
Tel: 01262 676198
Fax: 01262 607907
E-mail: headlands@eril.net
Website:www.headlands.eril.net

Wolfreton School

Mike Cox, Head of Art & Design

Exchanging Practice: Wolfreton School

Policy and Course Outlines Year 7: Unit of Work - The Fauves Year 7: Unit of Work - Aboriginal Art Year 8: Unit of Work - The Renaissance Year 8: Unit of Work - William Morris Year 9: Unit of Work - Graphic Design Year 9: Unit of Work - Surrealism Year 9: Unit of Work - Surrealism (2) Key Art and Design Vocabulary

Policy and Course Outlines

Year 7: Unit of Work - The Fauves

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CONTEXT: Fine Art….Contextual Studies
ASSESSMENT CRITERIA:

• Group/individual use of art room resources
• Understanding basic colour theory
• Application of understanding to finished painting
• Understanding of links between Fauves and personal work
• Evidence of understanding of key vocabulary in practical work
• Obvious flair and skill in class/homework

WEEK

1. Introduction to the Fauves - Key Concepts - "Complimentary colour & basic colour theory. (H/Wk information sheet)
2. The Colour Wheel (painted in sketchbooks)
3. Introduction to correct use of classroom materials (Including Rehearsal)
4. Complete Colour Wheel, colour progression and complimentary colour exercises
5. Define composition. Use of circles to simply and quickly illustrate concept. (H/Wk line comp.)
6. Draw full size composition. Introduce tonal composition and composition with tone and texture. (H/Wk tonal comp)
7. Continuation of previous week's work
8. Continuation of previous week's work (H/Wk 4 comps)
9. Introduce painting (H/Wk Colour comp.)
10. Continuation of previous week's work and presentation of work (H/Wk Collage)
11. Revisting work for improvement, prior to -
12. Evaluation

HOMEWORK: Six homeworks must be completed.

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1. Copy out information sheets into sketch books, cut out and past in the pictures
2. 4 line drawing compositions involving 3 planets in given space
3. 1 tonal composition (2 weeks)
4. 4 compositions involving different combinations of tone and texture
5. 1 colour composition involving complimentary colours
6. 1 colour collage working through colour wheel and incorporating planets (2 weeks)

EXAM

• What are primary colours?
• What are secondary colours?
• Complete the colour wheel in the correct sequence
• Name 2 key Fauvist painters
• What does the name Fauves mean?

Year 7: Unit of Work - Aboriginal Art

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CONTEXT: Fine Art….Contextual Studies
ASSESSMENT CRITERIA:

• Application of prior knowledge of Formal Elements
• Ability to stylise drawings from source references
• Quality of design and composition
• Correct use of classroom resources

WEEK:

1. View work examples. Discuss differences from Western European tradition. Question contexts which might be relevant in shaping the work. Make notes in sketchbooks
2. Introduce the H/Wk project - "The Journey". Introduce concept of symbolism. Work in sketchbook practising making symbols for objects - people, events e.g. ceremonies
3. Introduce "scraper board" concept. Distribute source references for stylised compositions. Produce preliminary drawings
4. Develop drawings, giving emphasis to pattern making, contrasting surfaces and weight of line
5. Continue above
6. Prepare ground for "scraperboard" compositions. Complete development of finished composition
7. Work into prepared ground, referring to preparatory drawing
   
8. Complete above
9
9. Draw up "journey" composition.
10. Demonstrate painting technique and colour mixing possibilities
11. Work towards completing painting
12. As above
13. As above

HOMEWORK: The "Journey" composition

Week

1. Write a description of your journey from home to school. List all the features that are prominent. Include any events if important.
2. Draw symbols for selected features
3. Complete above
4. Draw a diagram/map of your route. It may be exaggerated to fit the page in any way you wish
5. Add to your diagram all your symbols, scaling them to fill space and produce interesting arrangements
6. Modify by adding contrasting surface pattern and texture and varying weight of line

EXAM

• List 4 things which make Aboriginal Art different from Western European Art
• What is symbolism in an image?
• Give 1 example of how the environment influences the way Aboriginal Art looks
• What modern artists paint changed the appearance of Aboriginal painting?

Year 8: Unit of Work - The Renaissance

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CONTEXT: Fine Art….Art History
ASSESSMENT CRITERIA:

• Understanding Perspective. 1, 2 and 3 point
• Improvement in perspective drawing over three drawings
• Understanding the historical significance of the Renaissance
• Linking the Renaissance achievement to personal work
• Basic understanding of Art Historical study skills

WEEK

1. Issue key facts worksheet. Discuss range of work over all periods. What period is important
2. Stick copied examples into sketchbook. Early to late. Discuss and make written analysis of the development of perspective
3. "Reading" the Symbolism. Stick copies into sketchbook and make written explanation of key symbols
4. First perspective exercise. 1 and 2 point perspective
5. 3rd point perspective exercise. Observed drawing of a box at different eye levels
6. First "city" drawing, line only. Measuring and application of knowledge from previous exercises
7. New viewpoint. 2nd. Drawing involving tone
8. Completion of second drawing
9. Third drawing. New viewpoint, involving tone/texture and different media
10. "
11. Evaluation. Presentation of finished work

HOMEWORK: Five homeworks must be completed.

1. A perspective drawing of your TV
2. A perspective drawing of your kitchen
3. A perspective drawing of a chair
4. A perspective drawing of the hall
5. A perspective drawing of your living room

EXAM

• What does the word Renaissance mean?
• What three periods is the Renaissance generally split into?
• Name a key artist from each period
• What is the difference between the Northern Renaissance and the other two periods?
• What system of representing space and depth in painting was developed during the Renaissance?
• Complete the "City" drawing in an appropriate way

Year 8: Unit of Work - William Morris

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CONTEXT: Craft and Design
ASSESSMENT CRITERIA:

• Quality of observational drawing
• Ability to stylise from observational drawings
• Development of ideas following initial work
• Craftsmanship - final print
• ICT - development of repeat pattern

WEEK:

1. Introduce Morris. Give out fact sheet. Clarify differences between art, craft and design. Define qualities found in, and given emphasis to, craft

35. Observational drawing - flowers
36. Stylising the drawings
37. Applying drawings to repeat patterns. Refer to Morris examples. Discuss problems and solutions. Practice extending initial drawing
38. As above. Clarify ½ drop and full drop repeat layouts
39. As above. How to modify and refine. "Filling in gaps" - Refer to Morris's solution
40. Looking at simple geometric repeat elements. Collage 2 examples
41. Combine floral and geometric units and adapt as appropriate
42. Transfer to polystyrene block and begin mark making
43. Complete and proof print. Adjust if needed.
    

11. Print length of paper, working in groups of 2/3
12. Print length of paper, working in groups of 2/3
13. Print length of paper, working in groups of 2/3

Written work, evaluation and note taking from given resources should be on going and used as work when students are temporarily at 'a loose end'

HOMEWORK:

2. Finish line drawing based on work in class
3. Stylise drawing, based on work in class
4. Trace a unit repeated 4 times
5. Refine by adapting layout and extending drawing into "empty" areas
6. Produce drawing of finished A4 repeat unit
7. Complete written work in sketchbook based on Morris handout

EXAM:

• Give three qualities which characterise a piece of craftwork
• Draw a diagram of a ½ drop and full drop repeat pattern layout
• What movement did William Morris found?
• What comment did Morris's doctor make about him, which could indicate that these days he would be considered a "workaholic"?
• Why did Morris abandon his design work towards the later years of his life?

Year 9: Unit of Work - Graphic Design

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CONTEXT: Graphics
ASSESSMENT CRITERIA:

• Use and selection of formal elements
• Ability to stylise/simplify source references
• Clear development of ideas
• Flair and ability to use media with intention
• Selection to suit intentions when using ICT

WEEK:

1. Issue design brief. Clarify difference between Fine Art and Graphic Design. Introduce initial task - use of source references, adapting/enhancing "gods" using selected formal elements

26. The search for a motif, "corporate identity", rough design proposals
27. The search for a motif, develop and refine ideas, range of media
28. Further development. How will the motif suit all 3 products?
29. Finished artwork. Scanning image. Save in "my work"
30. As above.
31. Work in ICT room. Importing file into Publisher. Page layout for CD insert. Adding text. Looking at alternatives
32. Completing and printing the above
33. Working on artwork for poster and car sticker
34. Completion, evaluation and presentation of work

HOMEWORK:

Week

2. The "gods". Add visual elements to enhance drawing
3. Selecting and emphasising elements. Line and shape
4. Selecting and emphasising tone and texture
5. Typography experiments, collaged and drawn
6. Alternative motifs. At least 3

EXAM

• What is the difference between Graphics and Fine Art?
• What is a motif?
• What does corporate image mean?
• What is pre-press artwork?
• What is a design brief?

Year 9: Unit of Work - Surrealism

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CONTEXT: Art History
ASSESSMENT CRITERIA:

• Knowledge of key artists
• Application of understanding to personal work
• Quality of drawing, including use of formal elements
• Imaginative response
• Ability to work as member
• ICT application - "morphing" animals

WEEK:

1. Define qualities associated with Surrealist imagery. Distribute fact sheet. Do initial drawing tasks

14. The function of "chance" in Surrealist work. Mechanisms to bypass the conscious design making process. Play "consequences"
15. The function of chance. Play "exquisite cadavers". Distribute differentiated worksheets as appropriate
16. Use of collage. Refer to Magritte. "the ordinary juxtaposed"
17. Complete above
18. String prints. Refer to Max Ernst. Imaginative responses to "accidents"
19. Complete above
20. Introduction to withies. Establish teams. Produce initial composite ideas from reference sheets
21. Complete planning drawings, commence making structures.
22. Continue above
23. Continue above
24. Continue above
25. Complete project

HOMEWORK:

2. The "gods". Add visual elements to enhance drawing
3. Selecting and emphasising elements. Line and shape
4. Selecting and emphasising tone and texture
5. Typography experiments, collaged and drawn
6. Alternative motifs. At least 3

EXAM

• What is the difference between Graphics and Fine Art?
• What is a motif?
• What does corporate image mean?
• What is pre-press artwork?
• What is a design brief?

Year 9: Unit of Work - Surrealism (2)

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CONTEXT: Fine Art/Art History
ASSESSMENT CRITERIA:

• Knowledge of key artists
• Application of understanding to personal work
• Quality of drawing, including use of formal elements
• Imaginative response
• Ability to work as member
• ICT application - "morphing" animals

WEEK:

1. Define qualities associated with Surrealist imagery. Distribute fact sheet. Do initial drawing tasks
2. The function of "chance" in Surrealist work. Mechanisms to bypass the conscious design making process. Play "consequences"
3. The function of chance. Play "exquisite cadavers". Distribute differentiated worksheets as appropriate
4. Use of collage. Refer to Magritte. "the ordinary juxtaposed"
5. Complete above
6. String prints. Refer to Max Ernst. Imaginative responses to "accidents"
7. Complete above
8. Introduction to withies. Establish teams. Produce initial composite ideas from reference sheets
9. Complete planning drawings, commence making structures.
10. Continue above
11. Continue above
12. Continue above
13. Complete project.

HOMEWORK:

Illustration projects - "A storm in a teacup" Distribute source pack of reference material.

WEEK:

1. Draw - detailed drawing of a storm
2. Draw - detailed drawing of a ship
3. Draw - detailed drawing of a cup and saucer
4. Draw a number of rough compositions exploring possibilities
5. Begin finished piece
6. - 8 Complete highly finished work

EXAM

• List 4 things which you would associate with a surrealist image
• Visual Artists did not start Surrealism. What kind of artist did
• Name 3 major Surrealist artists
• Who is credited with starting Surrealism
• Why did Surrealist artists use chance to generate ideas for their work

Key Art and design Vocabulary

THIS BASIC VOCABULARY WILL BE USED TO TALK ABOUT ARTWORK (YOUR OWN AND THAT OF OTHERS)
EVERY PROJECT WILL REQUIRE YOU TO USE IT AND EXPAND IT AS TIME GOES ON.

For further information on these materials or for any other information regarding Art & Design at Wolfreton, please contact:

Mike Cox
Wolfreton School
Southella Way
Kirkella
East Riding of Yorkshire
HU10 7LU
Tel: 01482 659356
Fax: 01482 658598
E-mail: enquiries@wolfreton.eril.net
Website: www.wolfreton.eril.net

Beverley Grammar School

Marti Hall
Head of Art & Design

Exchanging Practice: Beverley Grammar School

Key Stage Three Outline Scheme of Work Art and Design Department GCSE Targets GCSE Art and Design Assignment Planning Sheet GCSE Art and Design Assignment Planning Sheet (2) GCSE Art and Design Assignment Planning Sheet (3) GCSE Art and Design Assignment Planning Sheet (4) GCSE Art and Design Assignment Planning Sheet (5) GCSE Art and Design Assignment Record Sheet

Key Stage Three Outline Scheme of Work

Art & Design Department G.C.S.E. Targets

GCSE Assignment Planning Sheet

GCSE Assignment Planning Sheet (2)

GCSE Assignment Planning Sheet (3)

GCSE Assignment Planning Sheet (4)

GCSE Assignment Planning Sheet (5)