MYP unit planner
Unit title
Drawing Assignment #5
Teacher(s)
Sandy Tomney
Subject and grade level
Visual Arts – Drawing, Beginning -----Year 5 (Grade 10)
Time frame and duration
10 classes, 53 minute class periods
Stage 1: Integrate significant concept, area of interaction and unit question
Area of interaction focus
Significant concept(s)
Which area of interaction will be our focus?
Why have we chosen this?
What are the big ideas? What do we want our students to
retain for years into the future?
Approaches to Learning:
By improving the following skills
through practice the students will be
taking more responsibility for their
learning.
- The students will need to
organize their ideas in their
Investigation Workbooks this skill
will be addressed during individual
conferences with the teacher.
- With the help of visual language
the students will communicate an
idea to the viewer through their
artwork.
- The students will reflect on their
work during daily questions,
conferences, and evaluations.
- The students will transfer and
apply prior knowledge along with
new concepts by showing their
thought process in their Investigation
Workbooks
Human Ingenuity:
As students examine and create
works of art they will better
understand the evolution, processes
and products of human creativity.
- As students develop a finished
artwork they will examine,
experience and reflect as they use the
creative process to create and
- Use new technical skills to better
manipulate space.
- Use texture and pattern as
expressive components in an artwork.
- Use the creative process.
- Apply prior knowledge.
- Develop an awareness of their and
other artists’ connections to
environments.
artwork that reflects on their ideas
concerning their world.
Environments:
Given this project the students will
become more aware of their
interdependence with various
environments so that they will
become more accepting of their
responsibility for maintaining
environments fit for the future.
- Students will be given the
opportunity to reflect on ideas
concerning environments as they
communicate their concerns about
environments.
MYP unit question
How can linear perspective, texture, and pattern
contribute to an artwork that focuses on
environments?
Drawing Question #54
Draw a box using one-point linear perspective.
Drawing Question #55
Draw a box using two-point linear perspective.
Drawing Question #56
Define rhythm.
Drawing Question #57
Define pattern.
Drawing Question #58
What is the difference between rhythm and pattern?
Drawing Question #59
Give an example from your drawing where
relationships between the elements in your pattern
make your artwork more interesting.
Drawing Question #60
What is the message of your drawing? How does
that message relate to environments?
Drawing Question #61
What are the two types of texture? Which one are
you using in your drawing?
Drawing Question #62
How are you using texture to make your drawing
more expressive?
Drawing Question #63
Are you using one-point or two-point perspective in
your final drawing?
Assessment with an engaging scenario
What task(s) will allow students the opportunity to respond to the unit question?
What will constitute acceptable evidence of understanding? How will students show what
they have understood?
Objective #1
Given the step-by-step teacher demonstrations, visual examples, and practice session the
students will be able to demonstrate understanding of one-point and two-point linear
perspective by experimenting with both techniques in their Developmental Workbooks.
Through this evidence the teacher will be able to assess and guide individual student progress
as they work toward mastering the technique. The students will then further apply the
technique during Objective #2.
Objective #2
Given the Objective #1, handout, class discussion, and examples of texture and pattern the
students will plan and create an artwork concerning environments that uses these concepts.
During their planning the students will be applying previously learned concepts concerning
the creative process, formal organization and technique. Evidence of understanding will be
demonstrated in several ways including:
1. Individual conferences with teacher to discuss planning and how the student used
each concept
2. Students’ use of concepts within artwork
3. Students’ answers to daily questions
4. Students’ self evaluations
Which specific MYP objectives will be addressed during this unit?
A
Knowledge and understanding
This objective focuses on building knowledge and understanding of both the art form and artistic processes. It should
inform the student’s practice as a young artist and allow him or her to appraise other artworks. The learning a student
experiences will impact on his or her own art-making and expression of personal interpretations in objective B.
•
demonstrate knowledge and understanding of the art form studied in relation to societal, cultural, historical
and personal contexts.
•
communicate a critical understanding of the art form studied in the context of their own artwork.
B
Application
This objective focuses on the practical application of the student’s skills to the creation of artwork. This should be
strongly informed by knowledge and understanding developed in relation to objective A.
The student should investigate and experiment with his or her artistic processes through the planning, creation,
performance and presentation of artwork, developing an initial idea or theme to a point of realization.
These processes should allow the student to develop and experiment with skills and techniques, as well as explore,
express and communicate artistic intentions. These intentions should involve the investigation of alternative ways of
using their knowledge, understanding and skills, and may evolve during the course of the student’s work.
•
develop an idea, theme or personal interpretation to a point of realization, expressing and
communicating their artistic intentions
•
apply skills, techniques and processes to create, perform and/or present art.
C
Reflection and evaluation
This objective focuses on the way that a student gradually comes to feel and think like an artist.
Ongoing reflection should be more than just a record of what was done. Reflecting critically requires the student to
question and justify the choices that he or she has made and to develop an objective evaluation of his or her own
work. The student should show a growing insight into his or her own artistic development.
The student is encouraged to seek feedback from others and to consider how this feedback might inform his or her
work as it develops. Constructive feedback can help a student to confirm, clarify or modify his or her artistic process
or intent.
Objective C is concerned solely with the student’s reflections and evaluations in relation to his or her own work.
Appraisal of the work of others is addressed in objective A, although this may lead a student to reflect on his or her
own work subsequently.
•
reflect critically on their own artistic development and processes at different stages of their work
•
evaluate their work
D
Personal engagement
The main focus of this objective is the development of the attitudes essential to engage with the artistic processes and
the art form studied.
The student should develop the personal and interpersonal skills that will enable him or her to initiate, to explore, to
negotiate with others and to take informed risks during his or her artistic experience.
The student should develop his or her ability to interact with other students in a supportive and sensitive way. It is
also anticipated that students will become increasingly mindful of their own and other cultures and use their
experiences to advance their artistic development.
At the end of the course, students should be able to:
•
show commitment in using their own artistic processes
•
demonstrate curiosity, self‐motivation, initiative and a willingness to take informed risks
•
support, encourage and work with their peers in a positive way
•
be receptive to art practices and artworks from various cultures, including their own.
Which MYP assessment criteria will be used?
Criterion A: Knowledge and Understanding
1. demonstrate knowledge and understanding of the art form studied
in relation to societal, cultural, historical and personal contexts.
______demonstrated in final drawing how to communicate a specific idea to the
viewer
2. demonstrate knowledge and understanding of the elements of the art form studied,
including specialized language, concepts and processes.
3. communicate a critical understanding of the art form studied in the context of
their own artwork.
______demonstrated in drawing how to use relationships between the elements to
make pattern more interesting
______demonstrated in final drawing how to use texture to help better communicate
an idea to the viewer
Criterion B: Application
1. develop an idea, a theme or a personal interpretation to a point of
realization, expressing and communicating their artistic intentions.
______demonstrated in the Developmental Workbook exploration, experimentation,
and elaboration on ideas through sketches and practice pieces
2. apply skills, techniques and processes to create, perform and /or
present art.
______demonstrated in drawing how to emphasize texture
______explored ways of creating texture
______demonstrated in drawing how to emphasize pattern
______demonstrated in experimentation how to use one-point perspective
______demonstrated in experimentation how to use two-point perspective
______demonstrated in final drawing how to use either one point or two-point
perspective
______demonstrated in final drawing how to use previously discussed techniques
______presented artwork in clean and neat manner
Criterion C: Reflection and Evaluation
1. reflect critically on their own artistic development and processes
at different stages of their work.
_____completed daily questions
2. evaluate their work.
______completed evaluation
3. use feedback to inform their own artistic development & processes.
Criterion D: Personal Engagement
1. show commitment to using their own artistic processes.
(per Developmental Workbook)
2. demonstrate curiosity, self-motivation, initiative and a willingness to take
informed risks.
(per Developmental Workbook/Daily Grade)
3. support, encourage and work with their peers in a positive way.
(per Daily Grade)
4. be receptive to art practices and artworks from various cultures, including
their own. (per Daily Grade)
What engaging scenario will you use to focus and motivate students?
There is a juried school wide art exhibit at the end of April that focuses on the theme
“Environment – How Do I Fit In?”. A request has been made for meaningful work to be
entered. Your drawing could be in the exhibit.
Stage 2: Backward planning: from the assessment to the learning activities through
inquiry
Content - Priority Standards
What knowledge and/or skills (from the course overview) are going to be used to enable the
student to respond to the unit question?
What (if any) state, provincial, district, or local standards/skills are to be addressed? How can
they be unpacked to develop the significant concept(s) for stage 1?
The following MYP six out of eight aims will be addressed during this project:
•
become informed and reflective practitioners of the arts
•
experience the process of making art in a variety of situations
•
explore, express and communicate ideas
•
become more effective learners, inquirers and thinkers
•
develop self‐confidence and self‐awareness through art experiences
•
appreciate lifelong learning in and enjoyment of the arts.
The students will be able to respond to the unit questions after they create their own
works of art that not only incorporate new ideas and concepts but also require the
understanding and use of previously learned concepts
They will:
- demonstrate in final drawing how to communicate a specific idea to the
viewer
- demonstrated in final drawing how to emphasize pattern
- demonstrate in final drawing how to use relationships between the
elements to make pattern more interesting
- demonstrate in final drawing how to emphasize texture
- demonstrate in final drawing how to use texture to help better
communicate an idea to the viewer
- demonstrate in final drawing how to use either one point or two-point
perspective
- demonstrate in the Developmental Workbook exploration, experimentation,
and elaboration on ideas through sketches and practice pieces
- demonstrate in final drawing how to use previously discussed techniques
- present artwork in clean and neat manner
I. Artistic Foundations
1. Demonstrate knowledge of the foundations of the arts area.
9.1.1.5.1 1. Analyze how the elements of visual art including color, line, shape,
value, form, texture and space; and principles such as repetition,
pattern, emphasis, contrast and balance are combined to communicate
meaning in the creation of, presentation of, or response to visual
artworks.
9.1.1.5.2 2. Evaluate how the principles of visual art such as repetition, pattern,
emphasis, contrast and balance are used in the creation of, presentation
of, or response to visual artworks.
2. Demonstrate knowledge and use of the technical skills of the art form,
integrating technology when applicable.
9.1.2.5.1 1. Integrate the characteristics of the tools, materials and techniques of
a selected media in original artworks to support artistic purposes.
II. Artistic Process: Create or Make
1. Create or make in a variety of contexts in the arts area using the artistic
foundations
**9.2.1.5.1 1. Create a single, complex artwork or multiple artworks to express
ideas.
**Indicates St. Paul Public Schools Power Standard
The following is how it will all be “unpacked” for the student:
Overall Objective for Unit: After examining linear perspective, texture and pattern the
students will develop a better understanding of the idea that artists use techniques, the
elements, and the principles of art to make their artwork’s visual message(s) easier to for the
viewer to understand. The students will demonstrate their understanding by creating a
drawing that communicates an idea concerning environments to the viewer.
Objective #1
Given the step-by-step teacher demonstrations, visual examples, and practice session the
students will be able to demonstrate understanding of one-point and two-point linear
perspective by experimenting with both techniques in their Developmental Workbooks.
Through this evidence the teacher will be able to assess and guide individual student progress
as they work toward mastering the technique. The students will then further apply the
technique during Objective #2.
Objective #2
Given the Objective #1, handout, class discussion, and examples of texture and pattern the
students will plan and create an artwork concerning environments that uses these concepts.
During their planning the students will be applying previously learned concepts concerning
the creative process, formal organization and technique.
Evidence of understanding will be demonstrated in several ways including:
1. Individual conferences with teacher to discuss planning and how the student used
each concept
2. Students’ use of concepts within artwork
3. Students’ answers to daily questions
4. Students’ self evaluations
Day 1
Introduction: Have image of B.C. by Johnny Hart Comic of B.C. walking to his
vanishing point up when students come into class.
- Explain we are going to be working with texture, pattern and linear perspective
during the project.
- Explain we are going to begin with reviewing/learning how to use linear
perspective.
So if B.C. isn’t funny now, hopefully you will get it when we are finished.
Lesson:
- Distribute handout for Project #5
- Step-by-step demonstration of one-point perspective
- Students go through steps while teacher does demonstration
- Students draw using one-point perspective on their own as teacher
checks for understanding
- Once teacher has checked each student’s understanding the students
will experiment with one-point perspective – push the limits of what it
will do.
- One-point perspective visuals:
- B.C. by Johnny Hart Comic of B.C. walking to his vanishing point
- Canaletto’s The Entrance to the Grand Canal, Venice, 1730
"MFAH | Top 100 Highlights | #4 - The Entrance to the Grand Canal, Venice." MFAH | The
Museum of Fine Arts, Houston. Web. 13 May 2011. <http://www.mfah.org/art/100highlights/Grand-Canal-Canaletto/>.
Day 2
- Step-by-step demonstration of two-point perspective
- Students go through steps while teacher does demonstration
- Students draw using two-point perspective on their own as teacher
checks for understanding
- Once teacher has checked each student’s understanding the students
will experiment with one-point perspective – push the limits of what it
will do.
- Two-point perspective visuals:
- Edward Ruscha’s Double Standard. 1969.
"Artsmia.org : Viewer." Www.artsmia.org. Web. 13 May 2011.
<http://www.artsmia.org/viewer/detail.php?id=8703>.
- One-point and two-point comparison and history visuals:
- Antonio Sant’ Elia Futurist City (two-point) and Terminal for Aero planes and Trains (onepoint, 1914)
Hughes, Robert. The Shock of the New. New York: Knopf, 1991. Figures 106 and 107. Print.
- Roman. Pompeiian, Boscoreale. First century BCE. Bedroom (cubiculum nocturnum)
from the villa of P. Fannius Synistor. Detail #1: west wall, panel with ornate door to fantastic
villa. Fresco on lime plaster, H: (average) 8’. The Metropolitan Museum of Art, Rogers
Fund, 1908.
"Lecture 6." Welcome to the Slide Projector an Instructional Website for Denise Johnson's
Art History Students. Web. 19 May 2011.
<http://www.theslideprojector.com/art5/art5lecturepresentations/art5lecture6.html>.
Day 3
- Discussion on texture and pattern using handout and the following images:
texture:
- Jesus Bautista Moroles (born 1950 Corpus Christi, Texas) Granite Weaving (1988.
Georgia gray granite 96.5 X 76 X10 inches. National Museum of American Art, Smithsonian
Institution.)
"Granite Weaving by Jesús Moroles." American Art. Web. 13 May 2011.
<http://americanart.si.edu/collections/search/artwork/?id=32248>.
- actual texture:
- Jean Dubuffet’s Cow with the Subtile Nose 1954.
MoMA | The Collection | Jean Dubuffet. (French, 1901-1985). 1954. Musuem of Modern Art,
New York, New York. MoMA | The Museum of Modern Art. Web. 13 May 2011.
<http://www.moma.org/collection/browse_results.php?criteria=O:AD:E:1633>.
- simulated texture:
- The Carpet Merchant. 1887. Minneapolis Institute of Arts, Minneapolis, Minnesota.
Minneaopolis Institute of Arts. Web. 13 May 2011.
<http://www.artsmia.org/education/teacher-resources/fivefacts_d.cfm?p=1&v=-4>.
- Image of Chloe Lesley Starks’ Antennarius Tagus c. 1900.
Mendelowitz, Daniel Marcus. A Guide to Drawing. New York: Holt, Rinehart & Winston,
1976. Page 168. Print.
pattern:
- Ceramic Tile Wall, c. 1500. From the Friday Mosque, Isfahan, Persia (Iran).
Gatto, Joseph A., Albert W. Porter, and Jack Selleck. Exploring Visual Design: the Elements
and Principles. Worcester, MA: Davis Publications, 2000. Page 224. Print.
- The Navajo Blanket was located at The Southwest Museum in Los Angeles. Image used in
class from is a poster from the J. Paul Getty Trust.
Kahlenberg, Mary Hunt., and Anthony Berlant. The Navajo Blanket. [New York]: Praeger,
1972. Print. Note: Image is on the cover of the book.
- William Morris (1834-96, Great Britain). Strawberry Thief, 1883. Indigo discharged block
printed cotton. Victoria and Albert Museum, London/Art Resource, NY.
"Image - V&A." V&A Home Page - Victoria and Albert Museum. Web. 19 May 2011.
<http://www.vam.ac.uk/images/image/56189-popup.html>.
- Go over assignment in handout
Day 4
- Review one-point and two-point linear perspective
- Discuss communicating ideas concerning Environments using packet and the
following images:
Environments:
- Utagawa Hiroshige’s Great Bridge, Sudden Shower at Atake from the series of One
Hundred Views of Edo. 1857. Japanese Block Print.
Hiroshige, Utagawa. Great Bridge, Sudden Shower at Atake. Environmental Art Museum.
Web. 19 May 2011. <http://greenmuseum.org/c/aen/Images/Ecology/Lankford/sudden.php>.
- John Steuart Curry’s Tornado Over Kansas. 1929.
Curry, John Steuart. Tornado Over Kansas. Environmental Art Museum. Web. 19 May 2011.
<http://greenmuseum.org/c/aen/Images/Ecology/Lankford/tornado.php>.
- Susan Coe’s Nuclear Family Goes Shopping. 1999.
Exhibition Schedule - Richard F. Brush Art Gallery. St. Lawrence University. Web. 19 May
2011. <http://www.stlawu.edu/gallery/exhibit-f02.htm>.
Graphic Witness: Sue Coe Catalog of Prints. Graphic Witness: Visual Arts & Social
Commentary. Web. 19 May 2011. <http://www.graphicwitness.org/coe/prntar.htm>.
- Theodore Gericault’s (1791-1824) The Raft of the Medusa.
Gericault, Theodore. The Raft of the Medusa. 1819. Musee Du Louvre, Paris. Paintings |
Louvre Museum. Web. 19 May 2011.
<http://www.louvre.fr/llv/activite/detail_parcours.jsp?CURRENT_LLV_PARCOURS%3C%
3Ecnt_id=10134198673226914&CONTENT%3C%3Ecnt_id=10134198673327664&CURR
ENT_LLV_CHEMINEMENT%3C%3Ehttp://www.louvre.fr/llv/oeuvres/detail_notice.jsp?C
ONTENT%3C%3Ecnt_id=10134198673236500&CURRENT_LLV_NOTICE%3C%3Ecnt_i
d=10134198673236500&FOLDER%3C%3Efolder_id=9852723696500815&bmLocale=en>.
- Ester Hernandez’s Sun Mad Raisins. 1981. Screen-print on paper 22” X 17”.
Hernandez, Ester. Sun Mad Resins. 1981. Home. California College of the Arts in Partnership
with BayCat. Web. 19 May 2011. <http://www.esterhernandez.com/index.html>.
- Vija Clemin’s Ocean Surface Woodcut. 1992.
Celmins, Vija. Ocean Surface Woodcut. 1992. Modern Museum of Art. MoMA | The Museum
of Modern Art. Web. 19 May 2011.
<http://www.moma.org/collection/object.php?object_id=65506>.
- Max Ernst’s (German, 1891-1976) The Eye of Silence. Oil on canvas, 43 1/4 x 56 1/4 ".
Ernst, Max. L’oeil Du Silence (The Eye of Silence). 1942-43. Kemper Art Museum. Kemper |
Kemper Art Museum. Web. 19 May 2011.
<http://kemperartmuseum.wustl.edu/collection/explore/artwork/541>.
- Various works by Bansky
"Outdoors." Banksy. Web. 19 May 2011.
<http://www.banksy.co.uk/outdoors/outusa/horizontal_1.htm>.
- Begin planning final drawing using the creative process (project #2B and
project #3)
Day 5
- Plan and begin final drawing using new and old ideas
- Teacher check plan during individual conferences
Days 6-10
- Work on final drawing and do evaluations (see handout)
The following handout will be used as a guide to cover the objectives and information
above during classroom discussions and individual conferences.
Name_________________
Drawing - Assignment #5
** Things to Know
- ONE POINT PERSPECTIVE
- Read the information on page 140 in Keys to Drawing.
Check with the teacher if you are not clear about how
this technique works.
- TWO POINT PERSPECTIVE
- Read the information on page 141 in Keys to Drawing.
Check with the teacher if you are not clear about how
this technique works.
- TEXTURE is an element of art.
It refers to an
artwork’s actual or implied surface quality.
- Surfaces that have ACTUAL TEXTURES
appear the same as they are in touch.
- Surfaces that have SIMULATED TEXTURES
appear differently than they are in touch.
-
PATTERN is a principle of art. Pattern is created
when the repetition of elements, or combination of
elements, form a recognizable organization.
- Creating relationships between the elements
within a pattern may help to make the pattern more
interesting.
- An artwork can also be made more interesting by
using many similar PATTERNS in relationships
with each other.
** Assignment
- This assignment requires that you include the
following parts:
- 1.
Experiment with one point and two point
perspective, then choose one type of perspective
to use in your final drawing.
-
The plans for your drawing should include
the use of one point and two point perspective.
-2.
The design should emphasize the use of
texture and pattern throughout the artwork.
-
How will the texture contribute to your
composition’s message?
-
What are the relationships between the
elements within each pattern?
-3.
Your design should communicate an idea to
the viewer.
-
Your idea should be based on the Middle
Years Area of Interaction Environments
- How are you related to your
environment and how is the environment
related to you?
- Ideas to consider:
- Where do you live?
- What resources do you have or need?
- What are your responsibilities?
- What is the importance of local and
global environment?
- What concepts of sustainable
development in a context of increasing
environmental threats come to mind?
- What are the related socio-economic
problems can you think of?
-
Think about how the design elements will help or
hinder your composition.
-
Show in writing/sketches how you used the creative
process. (THIS IS REQUIRED)
-
Include the following:
- restate the problem
- ask questions
- give examples of what other artists have done
- brainstorm
- sketch
- allow examples of ideas to emerge
- experiment with ideas
- evaluate ideas
- Finish process by doing a final drawing made
on good paper. (Don’t forget to evaluate the
final piece.)
- Teacher OK_________
-
Present the final project on quality paper
** Evaluation
- FORMAL ORGANIZATION
- What art elements are used in your artwork?
- Describe where each of these elements is present in
your finished drawing/composition (use examples
from your final drawing in your description).
- Describe the ways texture is used in your artwork.
- What principles are present in your artwork?
- Describe how you organized the composition. How
did you use each of the following? (Again, use
examples from your final drawing in your descriptions.)
- Emphasis/Center of Interest
- Rhythm/Repetition
- Pattern
-
EXPRESSIVE ORGANIZATION
What are you communicating to the viewer
through your drawing?
-
As an artist, the elements help you to
communicate an idea through your drawing.
Explain how you used the elements for this purpose.
(Discuss individual elements, using examples from
your work to support your answer.)
- TECHNIQUE
- Describe how technique was used in the project to
create the illusion of depth.
-
Describe the technique you used to create texture.
Visual Arts Assessment for Criteria-Project #5
Please choose one of the following for each of the blanks( ______).
4. Demonstrated consistent and advanced understanding
3. Demonstrated understanding
2. Demonstrated sufficient understanding
1. Demonstrated superficial understanding
Criterion A: Knowledge and Understanding
1. demonstrate knowledge and understanding of the art form studied
in relation to societal, cultural, historical and personal contexts.
______demonstrated in final drawing how to communicate a specific idea to the viewer
2. demonstrate knowledge and understanding of the elements of the art form
studied, including specialized language, concepts and processes.
3. communicate a critical understanding of the art form studied in the context of
their own artwork.
______demonstrated in drawing how to use relationships between the elements to make
pattern more interesting
______demonstrated in final drawing how to use texture to help better communicate an
idea to the viewer
Criterion B: Application
1. develop an idea, a theme or a personal interpretation to a point of
realization, expressing and communicating their artistic intentions.
______demonstrated in the Developmental Workbook exploration, experimentation,
and elaboration on ideas through sketches and practice pieces
2. apply skills, techniques and processes to create, perform and /or
present art.
______demonstrated in drawing how to emphasize texture
______explored ways of creating texture
______demonstrated in drawing how to emphasize pattern
______demonstrated in experimentation how to use one-point perspective
______demonstrated in experimentation how to use two-point perspective
______demonstrated in final drawing how to use either one point or two-point
perspective
______demonstrated in final drawing how to use previously discussed techniques
______presented artwork in clean and neat manner
Criterion C: Reflection and Evaluation
1. reflect critically on their own artistic development and processes at different
stages of their work.
_____completed daily questions
2. evaluate their work.
______completed evaluation
3. use feedback to inform their own artistic development & processes.
Criterion D: Personal Engagement
1. show commitment to using their own artistic processes.
(per Developmental Workbook)
2. demonstrate curiosity, self-motivation, initiative and a willingness to take
informed risks.
(per Developmental Workbook/Daily Grade)
3. support, encourage and work with their peers in a positive way.
(per Daily Grade)
4. be receptive to art practices and artworks from various cultures, including
their own.
(per Daily Grade)
Daily Grade Criterion:
The students have the opportunity of receiving 4 points each day
1 point for being on time and being on task straightaway
1 point for working the entire studio time – cleaning up at the appropriate time
2 points for working up to his or her ability/working with peers in a positive way/being
receptive to art practices and artworks from various cultures, including their own.
Approaches to learning
How will this unit contribute to the overall development of subject-specific and general
approaches to learning skills?
This unit allows students to develop technical, formal, and expressive aspects of visual art.
Critical thinking skills will be used in planning, production and evaluation of the project.
The students will also apply reading and writing skills while answering daily and evaluation
questions.
Other learning experiences will include:
- The students will need to organize their ideas in their investigation workbooks this skill
will be addressed in individual conferences.
- The students will communicate an idea to the viewer through their artwork
- The students will reflect on their work during daily questions, conferences and
evaluations.
- The students will transfer apply prior knowledge along with new concepts.
Learning experiences
How will students know what is
expected of them? Will they see
examples, rubrics, templates?
- The students will have access to
rubrics and evaluation questions that
pertain to the assignment goals, as well
as, examples by master artists.
Teaching strategies, include W I C R
How will we use formative assessment to give
students feedback during the unit?
- Students will answer daily questions that will
often times have answers that reflect their
progress as they work through the project.
- Assessment is included in overall project
assessment
- Students will also have individual conferences
with teacher to critique their progress.
How will students acquire the knowledge
and practise the skills required? How will - In this case the formative assessment is to help
student progress and check for understanding
they practise applying these?
allowing for the students to adjust their work. A
- The students will acquire knowledge
scoring guide is not necessary, as student
through discussion, examples, and
modifications will be seen in summative
written materials. They will practice
assessment.
applying this knowledge by creating an
- Writing: daily questions, quick reflections,
artwork that requires specific tasks to
summative assessments
create.
- Inquiry: open ended planning requires
students to question their
Do the students have enough prior
understanding of the assignment’s
knowledge? How will we know?
requirements.
- Yes. Prior knowledge and skills will
- Collaboration:
be developed in the previous four
- Reading: reading for information is
projects. Individual teacher/student
important in this assignment. Handout
conferences will help in determining
includes notes, directions for the project and
understanding.
evaluation questions. It is one option for
students who do not grasp understanding
through demonstrations/visuals and classroom
discussions.
What different teaching methodologies will we
employ?
- See above and below.
How are we differentiating teaching and learning
for all?
- Individual conferences
- Information will be presented in more than one
way (oral, visual, written)
How have we made provision for those learning
in a language other than their mother tongue?
- Individual conferences
- Information will be presented in more than one
way (oral, visual, written)
How have we considered those with special
educational needs? Yes see above
Resources
What resources are available to us?
How will our classroom environment, local environment and/or the community be used to
facilitate students’ experiences during the unit?
Resources:
Images (projected), handouts, paper, are all available. By this time in the class all students
are recording their progress in their Developmental Workbooks.
Classroom environment is key – we are all working toward a using what we know while
adding new ideas, as this is quite complicated we must work together and help each other out.
Giving the students the responsibility of having their workbooks and beginning with the daily
question each day gives them a starting point and a place to record their progress. Overall
this creates a good work environment for the students.
Ongoing reflections and evaluation
In keeping an ongoing record, consider the following questions. There are further stimulus questions at
the end of the “Planning for teaching and learning” section of MYP: From principles into practice.
Students and teachers
What did we find compelling? Were our disciplinary knowledge/skills challenged in any way?
What inquiries arose during the learning? What, if any, extension activities arose?
How did we reflect—both on the unit and on our own learning?
Which attributes of the learner profile were encouraged through this unit? What opportunities were there for student-initiated action?
Possible connections
How successful was the collaboration with other teachers within my subject group and from other subject groups?
What interdisciplinary understandings were or could be forged through collaboration with other subjects?
Assessment
Were students able to demonstrate their learning?
How did the assessment tasks allow students to demonstrate the learning objectives identified for this unit? How did I make sure students
were invited to achieve at all levels of the criteria descriptors?
Are we prepared for the next stage?
Data collection
How did we decide on the data to collect? Was it useful?
Figure 12
MYP unit planner