· web viewto experiment with watercolours to differentiate between solid object and...

Any assessments classed as summative must have a moderated outcome. Please specify which TA the unit will be used for (in isolation or cumulatively with another unit).

Scheme or Work: Portraits (identity)

Department: ART (Year 7)

About the unit

Unit Aims An analytical understanding of developing a portrait. To construct a portrait demonstrating form, tone and colour.

Transferable Skills Development- linked AOs/Specification

Link with Prior Learning Proportion. Numeracy. Baseline assessment. Universal portraits. Setting portraits in context.

Application of tonal values and colour.

Solving spatial awareness. Investigating tonal values to create form. Recording ideas. Reviewing and modifying by making

comparisons. Evaluation of process to show an

understanding of progress.

Link with future learning

Timing (Number of weeks/length of unit)

19 weeks

What is the next Unit? How does it build on/extend this unit?

Designing a mask showing an appreciation of other cultures. Distortion of the portrait to develop a cultural mask.

Key Learning Outcomes Key Assessment ActivitiesMid-scheme End of Scheme

Key Questions /Success Criteria

Highest ability students should be able to: Evaluate their own portrait and that of other

students/artists. Reflect and review both purpose and meaning in their

own portrait. Apply technically and independently the application of

appropriate media to develop their portrait.

Solve the proportion of a portrait.

Development of a tonal ladder.

Graduation of tonal values.

Targeted questioning.

Mixing of colour. Ratio.

Controlling the concentration of paint.

Targeted questioning.

Solve the organisation of dark to light tonal values of your portrait.

Calculate and make consistent judgements the correct ratio when mixing tints and shades.

What would happen if the artist changed their colours palette?

Middle Ability students should be able to: Construct their portrait showing an understanding of

tonal values, tints and shades. Select information and resources to develop their

portrait. Colour wheel, Compare and comment on methods and approaches used

to develop their portrait. Application of warm/cold colours.

Discuss their work and that of other students while considering how to adapt and refine their ideas, skills and processes.

Represent a portrait which demonstrates a range of contrasting tonal values.

How would you explain the process to organise a portrait?

Distinguish and match tonal values from your tonal ladder.

Resolve the portrait demonstrating the correct proportions.

Lower ability students should be able to: Locate the features that recognise proportion of their

portrait, Demonstrate and match tonal ladder to develop portrait.

Match features in the correct proportions.

Identify tonal values and apply on your portrait.

How would you describe the lines in the organisation of your portrait?

What observations can you make about your portrait?

Scheme of Work Department Topic/Unit of 15




Resources (where are they/What are they?) Include hyperlinks where possible

Skill:Skills Analytical skills, Communication skills, Creative skills, Designing

skills, Literacy skills, Numeracy skills, Problem solving skills, Reasoning skills and Subject specialist skills.

See lessons plans on student shared drive>Key stage 3>Year 7>Lesson plans

Literacy Skills Reading appropriate text, Differentiated questioning, Identify and apply subject specific key language, Talk and listening for writing, Interactive language activities, and Homework.

Medium term plans and as above.

NumeracySkills Proportion, Ratio and Problem solving As aboveSPaG (key words and vocabulary)

Application of subject specific language As above

Promoting British Values Students express their own views in the context of the artwork. They are encouraged to apply key language in the context of the identified artwork and respect one another’s opinions.

Voting and opinions RAG. Peer assessment

LESSON BY LESSON OUTLINE

Lesson Number

Learning outcome Teaching and Learning Activities (including homework and differentiated tasks)

Resources (where and what are they? Include hyperlinks where possible)

Assessment for Learning (AfL) opportunities (Summative/Formative/diagnostic)

1 Baseline test Who is the mysterious stranger in the painting, “ The bar at the Folies-Bergere” by Edouard Manet

W:\Art\ART KEYSTAGE 3\YEAR 7\lesson plans Diagnostic assessment: exceeding expected level, working at expected level, working below expected level.

2 Analyse and construct the proportions of a portrait

Estimate and solve the portrait using the selected features (eyes, nose , mouth and ears)

Lesson 2 -Examine proportion. Numeracy Measure and analyse the proportion between the features.

3 Evaluate the relationship of scale (size) between the features (eyes, nose, mouth and ears)

Template consolidating the learning. Swap portraits demonstrating understanding and analysis of proportion.

Peer assessment. Table with next steps.






Lesson Number




4 Develop a range of tonal values that demonstrates the form of a portrait

Create a graduated tonal ladderModelling.

Lesson 4 - Graduation of tonal values Analyse and identify location of light and shadow on portrait

5 Develop a range of tonal values that demonstrates the form of a portrait

Evaluate and emphasize dark and light using a 6B pencil and rubber. Modelling.

Lesson 4 - Graduation of tonal values Targeted questioning

6 Develop a tonal ladder exploring colour mixing tints and shades

Tonal ladder. Ratio of paint : water Ratio of blue : white

Organisation and rearrangement of tonal ladder Peer assessment

7 Identifying and applying tint and shades in portrait

Classifying shadow and light to suggest form Annotation of exemplar portrait. Self-assessment

8 Graduation of shades and tints. Blending technique. Dry brush and wet in wet technique. Blocking shapes.

Modelling and YouTube. Peer teaching

9 Graduation of shades and tints. Blending technique. Dry brush and wet in wet technique. Blocking shapes.

Modelling Peer assessment

10 Graduation of shades and tints. Transition of tones.Watercolour.

Modelling Consider your peers viewpoints and evaluate the paintings.

11 Examine detail refinement. Analysis using a viewfinder. A6 magnification of specific features. Matching colour pencil

Viewfinders Self-assessment

12 Examine detail refinement. Analysis using a viewfinder. A6 magnification of specific features. Matching colour pencil

Viewfinders Self-assessment

13 Creating contrasts Analysis of high and low contrasts. W:\Art\ART KEYSTAGE 3\YEAR 7\lesson plans Peer assessment

14 Creating contrasts Defining form. Highlights. Values and colour. Analysis of key. Peer assessment

15 Reviewing the quality of line to demonstrate texture.

Examination of line Identified brush sizes and oil pastels.

Van Gogh Diagnostic

16 Reviewing the quality of line to demonstrate texture.

Analysis of rhythm Bridgette Riley Diagnostic

17 Dramatic lighting Examination of Rembrandt Video. Shadow v Light Targeted questioning

18 Realisation of Knowledge and understanding Review and test learning Personal art journals Summative assessment

19 Realisation of Knowledge and understanding Review and test learning Personal art journals Summative assessment

About the unit

Unit Aims • Understand the main characteristics of Cubism to create a mask.• Develop Photoshop skills to manipulate a portrait, showing a context of Cubism






Link with Prior Learning Scale. Proportion.

Multiple perspectives Merging layers

A01: Development of ideas

Rearranging and reorganising visual information to relate to context of cubism (A01)

Exploring and experimenting with multiple layers using Photoshop (A02)

Research and compare the development of portraits (A03)

Combining ideas. (A01) Recording ideas and demonstrating insight of cubism.

(A03) Reviewing and modifying by making comparisons.

(A04) Evaluation of process to show an understanding of

progress. (A04) Applying technical knowledge and application of media

(A02)


Timing (Number of weeks/length of unit) 10


Dual personality – Charlotte CaronA01: Development of ideas. Extended Photoshop skills. Exploring texture through media.



Highest ability students should be able to: Investigate and propose a range of analysed cubist portraits. Appraise their ideas and make recommendations. Explore and apply Photoshop tools skilfully demonstrating an

insight into cubism

Creating and adjusting multiple layers.

Experimenting with different viewpoints.

Graduation of tonal values.

How can I apply my texture and mark-making techniques to my own work to successfully demonstrate tone?

What objects will you be including in your own design and which artists have inspired you?

Will your work be more realistic or will you break the rules to create a more Cubist composition?

Middle Ability students should be able to: Construct a cubist portrait by combining and manipulating a

portrait. Select information and resources to develop their knowledge and

understanding of cubism Compare and comment on methods and approaches used to

develop their cubist portrait.

Reorganising and arranging layers.

Developing a portrait photo collage.

Describe the colours can you see and how the artist has used tone in their work?

How does the use of tone/texture/collage add to the mood of the work?

Lower ability students should be able to: Experimenting with different scale features Combine different scales

Experimenting with different scales

Exploring texture

How can you identify a Cubist Painting and how can you describe what you can see?

What different materials can you see and how have they been used?






Skill:SkillsLiteracy SkillsNumeracySkillsSPaG (key words and vocabulary)Promoting British Values


Lesson Number




1 Produce an observational drawing of a non-traditional view portrait

Demonstrate use of line, shape, form and tone.Reassembled face.

Mr. Faires perspective portraitshttp://www.picassohead.com/create.html

How have you created imaginative responses and representations of the real world, remaining flexible to adapt and change artistic elements to express a specific meaning or idea?

2 Research and compare the development of portraits

Distinguishing differences between classical and modern portraits

PowerPoint research. Internet How can I apply my texture and mark-making techniques to my own work to successfully demonstrate tone?

3 Construct a portrait using geometric shapes

Arranging coloured geometric shapes to construct a cubist portrait. Scissors and glue.

Template of cubist analysed portraits.Reconfigure 2/3 perspective portraits of Mr. Faires.

How have you collected and assembled suitable information and visual resources to inform your design for the purpose?

4 Construct a portrait using geometric shapes

Modelling of polygonal lasso tool. PhotoshopSelection of shapes.

Photoshop modelling guide.https://www.youtube.com/watch?v=v0nmI_stsZk

How have you used Photoshop, varied drawing approaches, collage and digital media to record from secondary sources to inform and develop imaginative ideas for your work?

5 Analysis of fragmented portrait

Construction of polygonal shapes that distinguishes the form of a cubist portrait

http://www.drawingandpaintinglessons.com/Drawing-Lessons/Cubist-Portrate.cfm

How have you developed your knowledge and your practical skills through investigation and experimentation using a range of materials and techniques with increasing control and purpose?

6 Analysis of fragmented portrait

Construction of polygonal shapes that compares with cubist portrait artists. Picasso and Braque.


How will you explore the characteristics of each of the artistic elements with control to express personal intentions when creating painted portraits?






https://www.youtube.com/watch?v=v0nmI_stsZk

http://www.picassohead.com/create.html





Lesson Number




7 Develop a subdued / limited palette of colour

Creating unity and harmony in cubist portrait.Three primary colours + grey

https://www.youtube.com/watch?v=DYGi18U4D4M Understand the meaning and application of monochromatic colour and be able to mix a and apply a wide range of appropriate tone, shades and tints

8 Application and distinguishing contrasts of planes

Developing tone, texture and contrasts.

https://www.youtube.com/watch?v=n0rkVOD8VF0&list=PLAotmLJoANBejKAvYT7_BqJYhxWEVwRHq

How can I apply my texture and mark-making techniques to my own work to successfully demonstrate tone?

9 Creating multiple plane cubist portraits

Exploring and experimenting with Photoshop layers

David Hockney, John Stezaker,http://thedelightsofseeing.blogspot.co.uk/2011/03/cubism-joiners-and-multiple-viewpoint.html

What artistic elements have you applied to further technical knowledge, modifying scale, developing detail, the quality of finish or presentation of your personal response to portrait cubism?

10 Creating multiple plane cubist portraits

Exploring and experimenting with Photoshop layers

https://www.youtube.com/watch?v=cGtraVb_0vYhttps://www.youtube.com/watch?v=F3q59aeDYqcGino Serverini

How have you developed personal ideas and curiously explored creative approaches in context of cubism?How have you enquired and engaged in open ended research, experimenting with drawing and design techniques to produce more expressive designs?

About the unit

Unit Aims To create a visual language that expresses dualities. To analyse an enquiry into the personality.


Link with Prior Learning Analysis of the emotive colour applied to portraits Distortion of a portrait Developing and applying different textures Analysing identity through portraiture.

Deconstructing art work to generate questions for an enquiry.

Exploring and investigating media to create textures applying different processes.

Recording and generating ideas as work develops. Annotation.

Reviewing and modifying ideas with justification of reason.

Evaluation of ideas to realise your personal intention.


Timing (Number of weeks/length of unit)

19 weeks


Exploring the application of symbolism to reveal identity. Year 9 (Autumn term)Looking how you can create distorted portraits (mark making) symbols reveal aspects of their identity.


https://www.youtube.com/watch?v=F3q59aeDYqc

https://www.youtube.com/watch?v=cGtraVb_0vY

http://thedelightsofseeing.blogspot.co.uk/2011/03/cubism-joiners-and-multiple-viewpoint.html

http://thedelightsofseeing.blogspot.co.uk/2011/03/cubism-joiners-and-multiple-viewpoint.html




https://www.youtube.com/watch?v=DYGi18U4D4M






Highest ability students should be able to: Create an imaginative response that explores and

realises the potential of combining the duality of media. Justify and convince the viewer of dual personality Recommend appropriate targets through self-

assessment.

They explain how their own ideas, experiences and values affect their views and practice.

They identify why ideas and meanings in others’ work are subject to different interpretations, using their understanding to extend their thinking and practical work.

How have you applied line and colour to explore emotion?

Why does the perspective of your animal suit the purpose of the animal?

How have you applied colour to suggest texture?

Middle Ability students should be able to: Select and control media to produce an emotive mood Defend the representation of the dual personality. -

Pupils comment on similarities and differences between their own and others’ relating them to the context of the identified personality.

They adapt and refine their work to reflect their own view of its purpose and meaning.

How effectively have you applied Charlotte Caron’s techniques? Explain why?

How can you justify the representation of the dual personality?

Lower ability students should be able to: Demonstrate a contrast of texture applied through

different media-

They analyse and comment on the contexts of their own and others‘ work

Pupils comment on differences in others work and suggest ways of improving their own.

Demonstrate how you can distinguish the differences in their work and that of others’






Skill:Skills Analytical skills, Communication skills, Creative skills, Critical

thinking skills, Designing skills, Literacy skills, Numeracy skills, Problem solving skills, Reasoning skills and Subject specialist skills.




NumeracySkills Proportion, Ratio and Problem solving As aboveSPaG (key words and vocabulary)

Application of subject specific language As above

Promoting British Values •Students express their own views in the context of the artwork. They are encouraged to apply key language in the context of the identified artwork and respect one another’s opinions.•Voting and opinions RAG.

Peer assessment


Lesson Number




1 Analyse Charlotte Caron’s animal portraits

Generate questions that deconstruct the identity of the animal portraits.

ART> KEY STAGE 3> LESSON PLANS Justify the reasons for your choices of your animal that realise your intentions for your dual personality.

2 Manipulate the scale to fit purpose of animal mask.

Photoshop transformation of scale. Adapt colour to realise intentions of mood.

ART> KEY STAGE 3> LESSON PLANS Analyse and interpret the impact of different perspective compositions of animal mask.

3 Experiment with textural mark making. Identify descriptive words relating to the dual personality suggested by animal traits.

ART> KEY STAGE 3> LESSON PLANS Suggest clues to that help form opinions about your personality.

4 Experiment with textural mark making. Hatching, cross hatching, stippling ART> KEY STAGE 3> LESSON PLANS Explain how you will apply 2D texture to make your animal mask more convincing.

5 Organize the features on your animal portrait applying the correct ratio

Comparing alternative compositions and considering their impact.

ART> KEY STAGE 3> LESSON PLANS Why do you think Charlotte Caron has been inspired by animals? Could she have approached this differently with a similar meaning?






Lesson Number




6 Explore and experiment with shading and textured detail to develop animal portrait.

Explaining the relationship between two personalities.

ART> KEY STAGE 3> LESSON PLANS Why do you consider Charlotte Caron’s animal portraits controversial?

7 Explore and experiment with shading and textured detail to develop animal portrait.

Explore the ancient tendency humanise animals and the dreams of humans that transform into animals.

ART> KEY STAGE 3> LESSON PLANS Compare Charlotte Caron’s animal portrait with another identified artist who uses this approach to disguise personality.

8 Develop and create a variety of colour to reflect moods.

How can you modify colour vibrancy and how would this affect the meaning?

ART> KEY STAGE 3> LESSON PLANS Charlotte Caron applies dull and muted colours in her animal portraits. Discuss.

9 Manipulate paint to develop form and tonal quality

Contrast the two medias and the two personalities ART> KEY STAGE 3> LESSON PLANS Investigate how colour has affected the mood of your story?

10 Manipulate selected media to develop form and tonal quality

Blotting, wax resist, subtracting with salt, bleeding colours.

ART> KEY STAGE 3> LESSON PLANS Consider your peers viewpoints and evaluate the paintings.

11 Manipulate selected media to develop form and tonal quality

Blotting, wax resist, subtracting with salt, bleeding colours.

ART> KEY STAGE 3> LESSON PLANS Develop reasoning and understanding of your dual personality.

12 Application of technique. Layering, blending, sgraffito, scumbling,blending ART> KEY STAGE 3> LESSON PLANS In what different ways have the artist represented texture in the animal mask?

13 Application of technique. Layering, blending, sgraffito, scumbling,blending ART> KEY STAGE 3> LESSON PLANS What techniques did you find successful? Justify your answer.

14 /15 Develop a variety of textures. Creating texture by exploring media, processes and techniques.

ART> KEY STAGE 3> LESSON PLANS Describe and explain how you have created texture and what identified textures you will use to realise your intentions.

16/17 Reviewing and modifying animal mask Critique of WWW and EBI. ART> KEY STAGE 3> LESSON PLANS How have you considered texture? How have you successfully created a mood?

18/19 Produce an animal portrait Apply discovered techniques to realise intentions ART> KEY STAGE 3> LESSON PLANS What personality have you created and describe how you have achieved this?

About the unit

Unit Aims To gain knowledge of historical and contemporary Still Life paintings to create own composition with intended artistic effect. To develop Photoshop skills to create a Still Life composition showing understanding of symbolism and perspective.

To introduce students to the rule of thirds.

To develop practical skills using water-based media.






Link with Prior Learning Symbolism of animals in previous unitProportionTonal values

Use of magnetic lasso tool, rubber, and crop toolUnderstanding of perspective (with emphasise on positioning and scale)

Selecting visual resources to create a vanitas composition. (AO1)

Exploring and experimenting with multiple layers using Photoshop. (AO2)

Research the meaning of objects in vanitas paintings. (AO3)

Compare and contrast traditional and contemporary vanitas paintings. (AO3)

Recording ideas and demonstrating insight of vanitas. (AO3)

Refining and modifying compositions with selected materials. (AO2)

Evaluation of process to show an understanding of progress. (AO4)

Applying technical knowledge and application of media. (AO2)


Timing (Number of weeks/length of unit) 10 weeks


My Surrealist Room – Rene MagritteAO1 Development of IdeasExtending Photoshop skills and use of one-point perspectiveIntroduction of Surrealism in contrast to Still Life painting.



Highest ability students should be able to:Investigate and propose a range of analysed vanitas compositions.

Appraise their ideas and make recommendations for improvement.

Explore and apply Photoshop tools skilfully demonstrating understanding of perspective and rule of thirds.

Explore and exploit media to suit intentions.

Select objects based on critical understanding of symbolism.

Problem-solve difficulties in Photoshop and show a confident and refined use of commands.

Show sophisticated understanding of the rule of thirds through the placement and scaling of objects in the vanitas composition.

How can I apply the rule of thirds to improve my composition?

What objects will you be using in your vanitas composition and what do they symbolise?

How do you use the water-based media to distort the reflection of the object?

Explain how to create a distorted reflection of the object in Photoshop by referring to appropriate Photoshop tools.

Middle Ability students should be able to:Select information and resources to develop their knowledge and understanding of vanitas.

Compare and comment on methods and approaches used to develop their vanitas composition.

Select objects which show informed decision making as they reveal characteristics of your chosen subject.

You apply and explore various Photoshop tools to create a distorted reflection of the solid object.

Show informed understanding of the rule of thirds through the placement and scaling of objects in the

Describe the appearance of the distorted reflection of the object.

How does the use of diluted water add to the reflection of the object?





Construct a vanitas composition by applying appropriate Photoshop skills.

Explore media to demonstrate understanding of formal elements.

vanitas composition.

Lower ability students should be able to:

Experiment with different Photoshop tools.

Experiment with different media.

Select objects which link to your chosen subject.

Apply appropriate Photoshop tools to edit and arrange your objects.

What does a skull represent in traditional vanitas paintings?

What different materials have you used in your painting?

Do you use the free transform tool or the flip vertical tool to change the size of your object?


Lesson Number

Lesson Objective Teaching and Learning Activities (including homework and differentiated tasks)



1 To research the meaning of objects in traditional Vanitas paintings.

Computer research and discussion.Students pinpoint their subject.

Shared area art new resources KS3+4 Diagnostic: Meaning of objects in traditional vanitas paintings (Quiz).

2 To construct a contemporary Vanitas composition using symbolic objects as a reference to your subject.

Distinguishing differences between traditional and contemporary vanitas.

Introduction to the rule of thirds to position and scale objects.

Arranging and scaling selected objects in Photohsop.

Shared area art new resources KS3+4 RDR – Reflect, Discuss, Respond

Critical group discussion at end of practical lesson to identify areas of success and areas of improvement.






Lesson Number




3 To construct a Vanitas composition using appropriate objects to reveal different aspects of your subject.

Spot the differences. Which one is the most successful composition? Students evaluate compositions with regards to the rule of thirds.

Shared area art new resources KS3+4 Formative assessment provided to students. Students respond to target and question to show understanding.

4 To study the use of formal elements in Audrey Flack’s Vanitas compositions.

Reinforcing formal elements and discussing the different use of these in Audrey Flack’s vanitas compositions. Student compare and contrast the work to traditional vanitas.



5 To experiment with watercolours to differentiate between solid object and reflection of object.

Teacher demonstration of practical skills.

Students experiment with media to achieve intended outcomes.

Group discussion and evaluation.




Teacher demonstration of practical skills.

Students experiment with media to achieve intended outcomes.

Group discussion and evaluation.

Shared area art new resources KS3+4 Formative assessment provided to students. Students respond to target and question to show understanding.


Student-led demonstration of practical skills.

Students refine their work to achieve intended outcome.



8 Formal Assessment Students are tested on one of the following assessment objectives:AO1, AO2, AO3. Practical tasks are either done in Photoshop or through selected media.

Shared area art new resources KS3+4 Summative assessment (AO2) in Photoshop or through the use of water-based media.

9 Formal Assessment Students are tested on one of the following assessment objectives:AO1, AO2, AO3.

Shared area art new resources KS3+4

Summative assessment (AO2) in Photoshop or through the use of water-based media.






Lesson Number




10 Evaluation of Vanitas Composition and Audrey Flack inspired painting.

Students evaluate the work created in the formal assessment period.

Shared area art new resources KS3+4 Summative assessment (AO3/AO4)

About the unit Unit Aims Examining how to develop a juxtaposition to create a double exposureSuggesting a story by the considered juxtaposed composition of visual images


Link with Prior Learning Juxtaposition of visual imagesJustifying the link of two visual imagesExaggerating scale out of context.Developments of ideas for ART GCSE.

•Deconstructing art work to generate questions for an enquiry.•Exploring and investigating appropriate Photoshop tools to realise intentions.• Communicating analytical skills by documenting work via print screen and annotating ideas.•Reviewing and modifying ideas with justification of reason for decisions.Apply reasoning skills to produce a critical analysis of the purpose for double exposure.


Timing (Number of weeks/length of unit) 10 weeks


Development ideas of GCSE coursework.



Highest ability students should be able to:- Experiment with exposure to create a seamless balance between

multiple visual images. Explore a range of different opacities to realise intentions.

- Develop the multiple exposure so the superimposition of two or more exposures to create a single image.

- Compose layers to create “multiple mode” which adds colours together.

Justification of the combination of images.

Composition of layers

Adjustment of exposure

Experimenting with intensity of light and contrast.

Insightful evidence consolidated by independent research

What elements of your work can you be critical of and why?How have you created a convincing depth and perspective in your artwork?How would you design an artwork applying the key surrealist approaches using a different theme from the seaside?

Middle Ability students should be able to:- Justify the reasons for their selected visual images that realise their Arrangement of scale Print screen journey of annotated

How have the changes you made effect the appearance of your composition?





intentions.- Describe and explain how they have combined two images together

to create a double exposure, using key targeted language.- Experiment with double exposure in respect of two images, so the

corresponding image has meaning.

Blending of layersof evidence

Lower ability students should be able to:- Combine two visual images together.- Juxtapose selected visual images and manipulate the perspective

Experimenting with opacity Print screen and annotation of evidence

Explain how your artwork relates to the surrealist approaches.How is your artwork different from real life?



Skill:Skills Analytical skills, Communication skills, Creative skills, Critical

thinking skills, Designing skills, Literacy skills, Numeracy skills, Problem solving skills, Reasoning skills and Subject specialist skills.




NumeracySkills Proportion, Perspective,Scale,Ratio and Problem solving See lessons plans on student shared drive>Key stage 3>Year 9>Lesson plansSPaG (key words and vocabulary)

Double exposure, Skew, Perspective, Juxtaposition,Opacity, Distortion, Texture, Contrasts and Superimpose.

As above

Promoting British Values •Students express their own views in the context of the artwork. They are encouraged to apply key language in the context of the identified artwork and respect one another’s opinions.•Voting and opinions RAG.

Peer assessment

As above




LESSON BY LESSON OUTLINELesson Number




1 Research selective artists who have developed the idea of double exposures.

Targeted questions which enquire about double exposure.

Antonio Morahttps://www.youtube.com/watch?v=UnFab9Z5sig

How would you describe double exposure to someone new to your class?

2 Recording of natural or manmade forms. Using a viewfinder to examine detail textures patterns of Natural or manmade forms

ART> KEY STAGE 3> LESSON PLANSNatural and Manmade resources close upshttp://dbarreto.com/post/44524077453/peoplenightscape

How have the identified artists arranged natural or manmade forms to create a double exposure?

3 Investigating blending modes in Photoshop and adjustment layers.

Adjustment of levels to create illusion of depth.Equalise the histogram. Select resolution to 300dpi

https://www.youtube.com/watch?v=xgTA3qgynIg&safe=active What have you discovered that makes the most effective double exposure?

4 Analyse and examine negative space Creating contrasts https://www.youtube.com/watch?v=53cbGdEwnn4 Describe the process of how you would combine two images together.

5 Consider the field of view, the foreground, middle ground and background.

Analysing line, shape, colour, form and texture. http://telcellservice.com/photoshop-blend-modes-youre-not-using-them-enough/

Demonstrate knowledge and understanding of appropriate key language to describe a Photoshop applied double exposure.

6 Examine and experiment with crop/perspective crop/rotate crop

Remove distracting content to simplify composition. https://design.tutsplus.com/tutorials/make-a-trendy-double-exposure-effect-in-adobe-photoshop--cms-23774

Reasoning on decision for chosen composition of double exposure.

7 Explore different opacities that create blurry and soft focus effect

Experiment with opacity and selection of texture. Explore adjustment to colour and tonal values.

http://www.discoverdigitalphotography.com/2014/the-art-of-the-double-exposure/

Evaluate the impact of your experimental compositions (print screens) with your peers.

8 Evaluating texture Dodge and burn http://theinspirationgrid.com/double-exposure-portraits-by-aneta-ivanova/

How have you examined texture in your composition?

9 Creating a multiple exposures of portrait to effect mood. Francis Bacon.

Different perspectives. http://www.flickr.com/photos/migueldoremi/ What are the advantages of creating a double exposure using Photoshop?

10 Developing double exposure to examine line and shape. Continuous line.

Gary Hulme, Mike Parr and Giacometti Tracing paper, scanner What has been your most successful double exposure?Explain the reasons why you think this.


http://www.flickr.com/photos/migueldoremi/

http://theinspirationgrid.com/double-exposure-portraits-by-aneta-ivanova/

http://theinspirationgrid.com/double-exposure-portraits-by-aneta-ivanova/



https://design.tutsplus.com/tutorials/make-a-trendy-double-exposure-effect-in-adobe-photoshop--cms-23774

https://design.tutsplus.com/tutorials/make-a-trendy-double-exposure-effect-in-adobe-photoshop--cms-23774

http://telcellservice.com/photoshop-blend-modes-youre-not-using-them-enough/

http://telcellservice.com/photoshop-blend-modes-youre-not-using-them-enough/

https://www.youtube.com/watch?v=53cbGdEwnn4

https://www.youtube.com/watch?v=xgTA3qgynIg&safe=active

http://dbarreto.com/post/44524077453/peoplenightscape

https://www.youtube.com/watch?v=UnFab9Z5sig

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