Subject ___Visual Arts________________ Grade _9/10 Course Code AVI1o/2o
Lesson Topic Assemblage Unit Duration ___150____min. Date______ 2011_
AVI 10 up to this point, elements and principles introduction,
AVI 20 the students who have done this project will work consecutively on a different project.
|Overall Expectations:C1. Terminology: demonstrate an understanding of, and use correct terminology when referring to, elements, principles, and other components related to visual arts; B1. The Critical Analysis Process: demonstrate an understanding of the critical analysis process by examining, interpreting, evaluating, and reflecting on various art works;A1. The Creative Process: apply the creative process to create a variety of art works, individually and/or
collaboratively;Specific Expectations:C1.1 use appropriate terminology when identifying and describing the use of elements and principles of design in their own art works and the works of others (e.g., when describing the use of colour, value, and proportion in Tom Thomson’s
B1.2 identify, on the basis of examination, elements and principles of design used in various art works, and describe their effects B1.4 use a variety of strategies to identify and reflect on their own work and the work of others, and evaluate the effectiveness of this work.A1.1 use a variety of strategies, individually and/or collaboratively, to generate ideas and to develop plans for the creation of art works A1.3 document their use of the creative process in a portfolio and refer to this portfolio to reflect on how effectively they have used the creative process
|Lesson Learning Goals- (Written in student friendly language- shared with students)
Key Question: What will students know, understand, be able to do, and communicate?
(Knowledge/Understanding Thinking Communication Application)
Play games to learn the key terms
Participate in activities to practice how to apply the key term and concepts
-consider abstract elements of composition (use of space)
Make plans and set goals for the project, rubric/ checklist
Create an assemblage, as a group, and individually
|Assessment – Indicators of Learning – Key Question: How will I know each student has learned the concept(s)/skills?
Do they have a correct understanding of the term? , use the class, postponing technique, gathering different responses, give direct, feedback ask for clarification,
K identify and define terms by playing a game
U/ T/C interpret and explain their understanding of terms by playing game 2 C1.1
A/T/I students use terms as they look at artworks and the actual environment (stage 2) B1.2, Stage 3 B1.4
A/C students discuss process, identify goals, A1.1
A/C and make a plan A1.3
|Accommodations and/or Modifications- Key Question: What will I do to assist individual learners or provide enrichment for others?
The lesson provides many options for meeting course expectations,
in words, on paper, and action
The instructor will need to make anecdotal notes and checklists about students and their task engagement.
|Resources and Materials Required/Safety Considerations
Materials needed two pages with terms and definitions sliced up and organized into piles.
photocopies of different masterworks a selection for everyone
Hang your head upside down, identify the overall composition of the room. (I) remind student to be careful not to hit their head / before they get a chance to try this.
|Time||Lesson Sequence and Instructional Strategies
(Setting the stage, instructional strategies, consolidation)
|Assemblage Unit Readiness work into Masterpiece
Stage one Readiness concepts and activities
Share overall goals
5introduce topic- preamble, some examples
core topic activities
10Activity variation matching terms with definitions in teams with time limits. share results, materials needed two pages with terms and definitions sliced up and organized into piles.
10Activity variation teams are assigned as artists vs. materials, Instructor calls out the terms artists use materials to demonstrate the terms.
30minutes in. finish up other works, research assemblage,
Stage two , understanding composition
2A)share overall assignment goals-
7B)Possible review key terms, students are each assigned a term to define, we share our results in discussion.
15C)Examples, an explanation of examples, identify the shapes of the overall image composition in each instance of example. so as we go on they know what to look for and identify.
Key concepts- composition thief, compositional sensibility, resonance,
3 consolidation Activity Variation Demonstration- have a student import an image into or paint program photo shop an image, and reverse the colours to look at elements of a composition. Identify the shapes of the overall image composition in each instance of example. so as we go on they know what to look for and identify.
10Activity variation- reversing an image, turn it up side down look at it and identify the shapes. colour out the shapes identify the harmony, or asymmetrical. (T) materials- photcopy example of a masterpiece or an assemblage.
this sequence is fraught with potential for students talk through instructions. Ensure that they are listening before proceeding. discuss each activity at the time, repeat the gathered conclusion, give wait time, encourage contributions from all students. Assessment opportunities do they know what they are looking for? do they care?meta teach- consider approach
Stage three Gathering materials, and understanding process, making a start…
Have students identify the most successful elements of an assemblage. What are the most important elements and principles of an assemblage?
conclude discussion and explain that in a moment we will gather our assemblage materials. table one, two, three. (no glue yet)
Activities to understand process\ list of things try on board-
1)Try arranging them to represent the shapes in an image.
2)Try arranging them randomly, throwing them down and mixing them up.
3)Consider arranging the pieces using some repeating shapes, or symmetrical balance, or asymmetry. bring out resonance, look at examples, consider how will use colour, how will that change the work.
Now plan what process or processes you will/may follow.
Instructor gives students time to begin the process and circulates the room to allow hesitant students an opportunity to ask questions
More time will be allotted to production as necessary.
As process nears completion students participate in informal critiques where they work in pairs at first to discuss the strengths and weaknesses of the works. Structure the peer evaluation into the individual mark, student must account for their use of the feedback that they got.
Assessment opportunities (K) C.1.1 how do students explain their demonstration, do they have a correct understanding of the terms, gauge the class-Are they willing to learn in this way? meta teach consider approach, what about the rest of this class
|Applying Learning in Class/ At Home|
|Post Lesson Reflection|
|Reflection on Lesson: Key Questions: What went well? What do I need to change or modify?|
|Follow Up – Specific Students (Learning and/or Behaviour)|
|What facets of my own teaching do I need to focus on and refine?|
Assemblage AVI 10 Name :
|Process and planning
student identifies their process with the instructor. ➛sign off ______________
|Critique from student/ instructor/ peers|
1 2 3 4
➛use of space
➛no flat base
➛creates a sculpture in three dimensional space
(in the round)
➛positive/ negative space
➛creates visual resonance, (repetition or scaling)
|Student creates a composition that has no flat base. Student creates a composition that begins to play with space, but needs to look further at the composition to increase the complexity and create an impression of a complete composition that resonates visually||Student creates a composition that has no flat base and has employed one to two elements.
Needs to work on creating a complete composition that resonates visually through repetition or scaling.
|student creates a composition that has no flat base and has employed some elements of pos./ neg. space, a/symmetry, and in the round.
Begins to employ visual resonance to create a visual composition
|Student creates an interesting composition that does not have a flat base and plays with positive and negative space symmetry and asymmetry. Student uses visual resonance to draw the eye about the piece.|
|Completion/ Elaboration Refinement
➛level of finish
|The work is not thoroughly glued and has two or more places where the finish/ surface has not been completely considered.||Student has more than two places on the work where the finish has not been completely considered. The work is thoroughly glued.||Student has almost completed a work that has two or less places where the finish has not been completely considered. The work is thoroughly glued||Student completes an assemblage or series of them that has completely
considered the finish/surface of the work and glued thoroughly.
Key terms in art lex
A three-dimensional work of art, or the art of making it. Such works may be carved, modeled, constructed, or cast. Sculptures can also be described as assemblage, in the round, and relief, and made in a huge variety of media.
In the round or in-the-round –
To be viewed from all sides; freestanding. When referring to sculpture, a type that is surrounded on all sides by space. The opposite of relief. Theater in the round is a kind of performance space in which the audience is arranged to surround the stage. This is also true of amphitheaters and arenas.
assemblage assemblage sculpture –
additive process Additive sculpture
is the process of creating sculpture by adding material to create the work.
Space filled with something, such as lines, designs, color, or shapes. The opposite of negative space. …
negative space negative space –
The plan, placement or arrangement of the elements of art in a work. It is often useful to discuss these in reference to the principles of design, as well as to the relative weight of the composition’s parts.
_____________can also refer to the area of a sheet in which the design appears in a drawing or print. When a composition is limited to a distinct area of a plate or a sheet of paper, it is good practice to note the composition’s measurements, as well as the measurements of the plate and of the overall sheet.
The design of a composition should either be pleasing or it should be in some other way expressive.
Symmetry symmetry or symmetrical balance
asymmetry ,asymmetrical balance
– ______________ is when one side of a composition does not reflect the design of the other. Asymmetrical balance is the kind of balance (one of the principles of art) in which the parts of a design are organized so that one side differs from the other without destroying that composition’s overall harmony. Consequently, when an asymmetrical design is disturbingly off balance, the result is disharmony. Also known as informal balance, .
__________________ is the type of balance most characteristically found in Japanese art. In Japanese, this intentional unevenness is called “hacho.”
balance balance –
A principle of design,____________ refers to the way the elements of art are arranged to create a feeling of stability in a work; a pleasing or harmonious arrangement or proportion of parts or areas in a design or composition. Portions of a composition can be described as taking on a measureable weight or dominance, and can then be arranged in such a way that they appear to be either in or out of balance, or to have one kind of balance or another. Balance can be symmetrical, or formal; or it can be asymmetrical, or informal. It can also be radial.
harmony harmony –
Agreement; accord. A union or blend of aesthetically compatible components. A composition is harmonious when the interrelationships between its parts fulfill aesthetic requisites or are mutually beneficial. As a principle of design, _________ refers to a way of combining elements of art to accent their similarities and bind the picture parts into a whole. It is often achieved through the use of repetition and simplicity.
Excessive ____________ leads to monotony, boredom. Relieving this may be elements of contrast; even of dissonance.
Total picture conception,
(visual resonance, idea resonance, personal resonance)
abstract abstraction and abstract art –
non-objective nonobjective art –
Whenever conclusions are considered or reached which depend upon ideas existing within a person’s mind; taking a personal point of view; personal. Quality of perceptions existing only within the experiencer’s mind, but not necessarily in reality. Expression of the individuality of an artist or author.