16/01/2023, 10:58 Ways to explore art in your classroom | Operation Art | The Arts Unit

Early stage 1 – Chicken

Title or subject matter: Chicken (190727)
Unit duration: 1 lesson
Artmaking practices or concepts:
shape and form
drawing

Resources or materials
A3 coloured paper, lead pencils, crayons, textas, buttons or plastic eyes,
various paper textures and colours, feathers or any other materials to add
detail.
image of The Snail by Henri Matisse 1953
(https://www.tate.org.uk/art/artworks/matisse-the-snail-t00540)
various chicken photos taken from internet depicting different colours and
breeds

Content Outcomes Indicators addressed (refer to syllabus p.28)

explores the characteristics of pets and other living things

such as where they are kept or live, what they like doing,
where they sleep, what they eat. For example, guinea pigs,
VAES1.1: Makes simple pictures
fish, birds, cats, dogs, horses, elephants, giraffes, kangaroos,
Making and other kinds of artworks about
koalas
things and experiences.
talks about significant features and relationships within their
artworks.

uses scissors to cut regular and irregular shapes from

VAES1.2: Experiments with a papers and cardboards and assembles these in a variety of
Making ways by overlapping, repeating, layering patterns, gluing,
range of media in selected forms.
and sticking

VAES1.3: Recognises some of the

qualities of different artworks and identifies different colours, shapes, textures and other
Appreciating things of interest in artworks.
begins to realise that artists make
artworks.

VAES1.4: Communicates their

Appreciating ideas about pictures and other describes and responds to what artworks are about
kinds of artworks.

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Sequence of learning experiences

1. Show students image of Henri Matisse ‘The Snail’ 1953. Discuss the basic spiral of the shapes to indicate the snail
shell and use of paper shapes to create an image.
2. Explain that students will explore chickens and use drawing and paper shapes to create an image. Link this to a
discussion of 2D shapes from mathematics and identify or draw a variety of shapes especially a variety of
triangles.
3. Show various chicken photos. Observe features such as beaks, comb, feathers and so on. Discuss shape of chicken
bodies and body parts.
4. Draw a large triangle to represent the body shape of a chicken to fill the majority of A3 paper.
5. With lead pencil, students draw triangle body of chicken to begin their drawing. Emphasise that no lines are
mistakes, just draw another line if you are not happy with the first attempt.
6. Guide students to add chicken body features to their drawings. Include a beak, eyes, comb (the floppy skin atop
the head), wattle (floppy skin under beak), wings, legs, feet.
7. Allow students to select colours from crayons to represent the chicken they are referencing from the displayed
chickens and then colour the body and parts.
8. Discuss features of the environment where chickens are found. Rely on student’s experiences where available. Use
coloured papers to create environment for chickens. Encourage cutting of different shapes and glue onto image to
create environment.
9. Use texta to outline chicken image to highlight it. Add a button or plastic eye for extra effect.

Assessment
Discusses significant features of chickens and their environments within their artworks and the artworks of others.
Identifies and uses different colours, shapes, and textures in their artworks and those of others that relate to and
represent the features of chickens as identified.
Assembles an artwork using a variety of techniques and materials such as drawing, using glue, cutting regular and
irregular shapes from paper with scissors.
Identifies and uses a variety of shapes by overlapping, repeating, layering patterns and gluing to represent the
identified features of a chicken.
Describes and responds to artworks by expressing opinions about the use of shapes and other artmaking
practices and elements to create images

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Early stage 1 – Aquatic Animals

Title or subject matter: Aquatic Animals (190753)
Unit duration: 1 lesson
Artmaking practices or concepts: Painting, colour
Resources or materials
art paper, lead pencils, crayons, water colour paints, brushes, salt (plain
table salt is fine), water dishes
various frog images by Australian artist John Olsen
(https://www.google.com/search?q=john+olsen+frogs&client=firefox-b-
d&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiohe-
hqKXkAhUabisKHUcYAHQQ_AUIESgB&biw=1920&bih=889#imgrc=_)
various aquatic animal photos taken from internet depicting different
animals, colours and types.

Content Outcomes Indicators addressed (refer to syllabus p.28)

explores the characteristics of pets and other living things

such as where they are kept or live, what they like doing,
where they sleep, what they eat. For example, guinea pigs,
VAES1.1: Makes simple pictures
fish, birds, cats, dogs, horses, elephants, giraffes, kangaroos,
Making and other kinds of artworks about
koalas
things and experiences.
talks about significant features and relationships within their
artworks.

explores the qualities of paint, recognising qualities such as

transparency and opacity and uses brushes and other tools,
VAES1.2: Experiments with a for example, sponges, rollers, scrapers to apply paint to
Making
range of media in selected forms. different surfaces to create textures, patterns, areas of
colour.

VAES1.3: Recognises some of the

qualities of different artworks and distinguishes a drawing from a painting, sculpture or
Appreciating photograph and talks about different materials artists use.
begins to realise that artists make
artworks.

VAES1.4: Communicates their identifies features in the works that are significant to them
Appreciating ideas about pictures and other and makes links with their experience
kinds of artworks.

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Sequence of learning experiences

1. Show students images of John Olsen’s frogs using the link provided. Discuss the playfulness of Olsen’s frogs and
the use of watercolours to create an image. Ask students what they think John Olsen’s feelings are of frogs, based
on his images.
2. Explain that students will explore animals that live in water and use drawing and painting to create an image. This
could be an opportunity to use the lesson to focus on particular aquatic animals that are being studied in Science
and Technology.
3. Research aquatic animals, both as pets and in ponds, rivers, and the ocean. Discuss features such as eyes, fins,
tails and so on. Discuss the shape of bodies and various body parts. Show a range of aquatic animal photos.
4. Demonstrate a basic geometrical shape such as a circle or triangle to represent the animal’s body shape to fill the
majority of art paper using a lead pencil.
5. With lead pencil, students draw a shape to represent the body of their chosen aquatic animal to begin their
drawing. Emphasise that no lines are mistakes, just draw another line if you are not happy with the first attempt.
6. Guide the students to add body features to their drawings such as eyes, lips, fins and so on.
7. Allow students to select colours from watercolours to colour the body and parts using brushes and paints. Avoid
green and blue colours that will be used in the background.
8. For the background, apply green and blue water colours liberally and sprinkle salt crystals sparingly while the paint
is wet. Leave flat to dry. The salt crystals will create a wavy effect with the wet watercolour paint.
9. Outline the animal with a bold crayon once background is dry. This will highlight the image.

Assessment
Describes the characteristics of aquatic animals such as where they are kept or live, what they look like then uses
these appropriately in their artwork.
Discusses and demonstrates the purpose, features and effects of water colour with added salt within their
artworks and what they represent for the viewer.
Distinguishes between drawing and painting techniques and the materials used for each by using them
appropriately and accurately.
Identifies and uses different colours, shapes and textures in their artworks and can recognise and discuss the
same in the works of others.

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Stage 1 – Dragon
Title or subject matter: Dragon (190043)
Unit duration: 1 lesson
Artmaking practices or concepts:
shape and form
colour
drawing

Resources or materials
Kate Beynon artworks featuring
dragons (https://www.google.com/search?
q=kate+beynon+dragons&client=firefox-b-
d&source=lnms&tbm=isch&sa=X&ved=0ahUKEw
-0KbkAhWVUn0KHbv0A1sQ_AUIESgB&biw=1920
art paper
acrylic paints
water colour paints
brushes
sponges
small pieces of card and rag
toothbrushes
lead pencils
textas

Content Outcomes Indicators addressed (refer to syllabus p.29)

explores narrative devices by creating comic strips and

VAS1.1: Makes artworks in a illustrated stories derived from their experience and
particular way about imaginative and other events in their lives, drawing on ideas
Making
experiences of real and from artworks, cartoons, illustrated books and other books,
imaginary things. videos and films

VAS1.2: Uses the forms to make thinks about how they can interpret the teacher’s or others’
Making artworks according to varying requirements for artmaking (for example use of materials,
requirements. investigation of subject matter, scale and purpose of the work)

VAS1.3: Realises what artists do, talks about some of the symbols and techniques artists use in
Appreciating who they are and what they their making of art
make.

VAS1.4: Begins to interpret the

meaning of artworks, recognises that artists may account for their work in different
Appreciating ways to an audience
acknowledging the roles of artist
and audience.

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Sequence of learning experiences

1. Study Kate Beynon images from the link provided and discuss the use of dragons. Point out that dragons are
imaginary and mythical and that the artist is free to interpret them as they wish.
2. Discuss the features of dragons that are conventional (scales, teeth, and so on) and also unconventional features,
challenging students to use their imagination to make their dragons uniquely individual. Create a list for the
students to refer to.
3. Explore the use of motifs both in Kate Beynon’s work and the Operation Art image by Lachlan. Explain that motifs
are personal and may be anything to represent personal thoughts or feelings. Discuss and create a list of ideas for
the students to use in their images around their dragon.
4. Demonstrate a basic curved line or geometrical shapes such as triangle and trapeziums to form a dragon shape to
show the students how to place a dragon on their art paper.
5. Use the list of features created in step 2 to lead the students through the drawing details onto the base shape of
the dragon.
6. Use thin watercolours to fill in a base background colour and a different base colour for the dragon. The aim here
is to eliminate any white of the paper showing through the final image.
7. Apply acrylic paints with various tools to dragon. Ask the students to think about complimentary colour
combinations. These are colours that sit next to each other on the colour wheel. For example, blue or green, red
or orange, and so on). Apply acrylic paint using the tools to produce different paint effects. Card can be scraped,
sponges can be dabbed, rags can be scrunched and dabbed, brushes can twist or stroke.
8. Move onto the background and motifs using the same applications of paint but varying the complimentary colour
combinations. The image may be used as a stimulus for descriptive writing in English. Students can write
descriptions of their dragon, motifs, colour choices, and so on.
9. Optional: splatter effect of black and/or white using old toothbrushes with acrylic paint and running thumb over
bristles to splatter paint over image to create mythical feeling to artwork. This step will depend on the ability of
your students and should be considered before deciding on this step. Do not offer to complete this step as the
adult. Students need to own their work as their own and be pleased with their achievements.
10. Allow the pieces to dry and then use bold texta to outline the dragon to create a highlight for the image. This does
not have to be black texta, it can be any strong colour.

Assessment
Explores mythical creatures and symbols by creating dragon and motifs derived from imaginative and other
events in their lives, drawing on ideas from artworks.
Interprets the suggested requirements for artmaking by use of materials, investigation of subject matter, scale and
purpose of the work.
Discusses the symbols and techniques used in their making a dragon artwork.
Writes a descriptive text recognising that artists may view the subject matter in different ways to an audience.

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Stage 1 – Bees
Title or subject matter: Bees (190161)
Unit duration: 2 lessons
Artmaking practices or concepts:
texture
colour
printmaking

Resources or materials
MC Escher artworks featuring insects including
bees, moths, butterflies and ants
(https://www.google.com/search?client=firefox-b-
d&biw=1920&bih=889&tbm=isch&sa=1&ei=HQJnXejRCbbUz7sPi
wiz-
img.......0i67j0i10.sKzG49dxEZU&ved=0ahUKEwio1IXA0KbkAhU2
photocopied A3 paper including drawn frame,
art paper,
acrylic paints, lead pencils, felt tip pens and
permanent markers
bubble wrap, sponges,
yellow cellophane, scissors, glue, plastic eyes,
sequins/rhinestones

Content Outcomes Indicators addressed (refer to syllabus p.29)

investigates details of objects, places and spaces and other

VAS1.1: Makes artworks in a living things (for example, windows and doorways in old or
Making particular way about experiences new buildings, the shapes of shadows, patterns of shells,
of real and imaginary things. animals kept in captivity or in the wild)

VAS1.2: Uses the forms to make explores various printmaking techniques (for example,
Making artworks according to varying monoprints and paper stencil techniques in silk screen
requirements. printing) to create one-offs and multiples

VAS1.3: Realises what artists do, talks about some of the symbols and techniques artists use
Appreciating in their making of art
who they are and what they make.

VAS1.4: Begins to interpret the recognises that artists explore the world in particular ways
meaning of artworks, in how they approach their artmaking and in the artworks
Appreciating
acknowledging the roles of artist they make.
and audience.

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Sequence of learning experiences

Lesson 1
1. Study MC Escher images provided in the link and discuss the use of patterns in creating worlds for insects. Point
out the use of repetition and patterns not only in the background but also in the insects. Discuss features of bees
and their environments as your focus insect.
2. Explore the idea of ‘bee colours’. These are colours associated with bees and make them distinguishable from
other insects. Explain that this is why yellow and black will be the only colours used in creating your mixed media
piece. Explain that mixed media is a term used to describe artworks composed from a combination of different
materials
3. Begin background by setting up print stations. Number of print stations will be determined by teacher considering
classroom space and management. A print station will consist of an A3 piece of bubble wrap, a sponge and yellow
paint.
4. Students use sponges to apply yellow acrylic paint to the bubble wrap and lay it flat on table. Next, place A3
photocopy face down on the painted bubble wrap. Press gently with hands to transfer paint to the paper. Peel
paper off and place to dry.
5. Create a list of bee body parts. Explain to students that this step only needs a head and body. Other parts will be
added in the next lesson. Demonstrate the size of head and body for students to draw that will be suitable for
adding to the background. This size would be approximately the size of the palm of their hand.
6. On a piece of art paper, the students draw bee heads and bodies. Emphasise the need for stripes on the bodies.
Paint using the yellow and black acrylic paints. Set aside to dry.

Lesson 2
1. Collect the background and the bees from lesson 1. Recap the created list of the bee body parts. Highlight the
ones that will be added to the bodies this lesson (legs, antennae, wings and sting).
2. Use scissors to cut out the bee heads and bodies. The students align cut images on their printed background piece
without gluing. Encourage the students to align the pieces to allow the addition of the listed body parts.
3. Glue the bees in place once the students are happy with the setting for their scene. Use textas and/or felt tip pens
to draw on the remaining body parts.
4. Take a small piece of yellow cellophane (pre-cut by teacher) to construct the wings. Twist in the middle and glue to
the bees where the students have drawn the wings creating an overlay.
5. Add the plastic eyes and sequins or rhinestones to complete work and add highlights.
6. Students research and create fact file for bees. Display these alongside artworks.

Assessment
Investigates details of bees and their hives and includes these details in their artwork.
Explores monoprint printmaking techniques to create one-off background print.
Discusses and identifies symbols and techniques MC Escher uses in this making of his insect based artworks.
Recognises that MC Escher explored the world in particular ways through the artworks he created by discussing
the features used.

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Stage 1 – Fantasy Scene

Title or subject matter: Fantasy Scene (1900653)
Unit duration: 2 lessons
Artmaking practices or concepts:
shape and form
colour
line
drawing
collage
painting

Resources or materials
Shaun Tan artworks from The Lost Thing (https://www.google.com/search?
q=shaun+tan+lost+thing+images&tbm=isch&source=univ&client=firefox-b-
d&sa=X&ved=2ahUKEwiNm6qG86bkAhWbF3IKHQx8C7AQsAR6BAgFEAE&biw=1920&bih=889)
art paper
acrylic paints, lead pencil, felt tip pens and textas
sponges and/or sponge rollers
scissors and glue

Content Outcomes Indicators addressed (refer to syllabus p.29)

VAS1.1: Makes artworks in a explores narrative devices by creating comic strips and illustrated
particular way about stories derived from their experience and imaginative and other
Making events in their lives, drawing on ideas from artworks, cartoons,
experiences of real and
imaginary things. illustrated books and other books, videos and films

experiments with the properties of different drawing and paint

VAS1.2: Uses the forms to media and tools such as graphite (‘lead’) and colour pencils, fibre
Making make artworks according to tip pens, crayons, paint, brushes, rollers, scrapers, sticks and
varying requirements. computer applications in drawing to create particular effects in
an attempt to capture likenesses of things depicted

VAS1.3: Realises what artists talks about and writes about the artworks made by particular
Appreciating do, who they are and what artists and areas of interest that artists have, recognising that
they make. artists gain ideas in a variety of ways

VAS1.4: Begins to interpret recognises that artists explore the world in particular ways in
the meaning of artworks, how they approach their artmaking and in the artworks they
Appreciating
acknowledging the roles of make.
artist and audience.

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Sequence of learning experiences

Lesson 1
1. Study Shaun Tan images using the link provided and discuss the use of imagination in creating worlds and
characters. Point out that the characters orcreatures are imaginary and that the artist is free to create them as
they wish.
2. Explore the idea of complementary colours. These are colours that sit next to each other on the colour wheel. For
example, purple, blue and green, red, orange and yellow, and so on). Make lists of complementary colour
combinations for the students to use. In the Operation Art example, the student has used aqua, green, blue and
purple. Black has also been added.
3. Give each student two pieces of art paper, one as a background piece and one as a feature piece. Use
complementary colour combinations of acrylic paints and sponges to completely cover the background piece in by
sponging individual colours in different sections of the paper. Overlap sections slightly to ensure no white of the
paper is showing through. Set aside to dry.
4. Take the feature piece of art paper and repeat sponging, this time only covering approximately half of the paper
randomly in the lighter colours from the complementary colour selection. When dry, this piece will have the
student’s creatures and characters drawn onto it. Set aside to dry.
5. Discuss different categories of characters and features to be drawn. Categories may be walking, crawling, flying
characters, machines that move differently, and so on.
6. Begin draft drawings of characters and features. Encourage a variety of draft drawings across a number of
categories.

Lesson 2
1. Use the draft drawings from the previous lesson to draw 7 - 8 different characters onto the prepared feature piece
of paper from lesson 1 using felt tip pens and textas. Encourage the students to draw over the coloured areas as
well as the white areas.
2. Use scissors to cut out the drawn characters. The pieces do not need to be precisely cut ‘on the line’. They can be
cut out with some edging. Have the students align the cut images on the background piece without gluing.
Encourage the students to align the pieces to create a narrative scene that can be related to the viewing audience.
Have students compose and discuss a narrative to explain and out into context the image they have created.
3. Glue the characters in place once the students are happy with the setting of their narrative scene.

Assessment
Creates and discusses illustrated stories relating to ideas from their created artwork.
Experiments with the properties of different drawing, paint media and tools such as graphite (‘lead’) pencils, fibre
tip pens, rollers and sponges to create particular effects using correct techniques
Discusses own artworks, recognising that artists gain and share ideas in a variety of ways.
Recognises that artists explore and share imaginative worlds in the artworks they create and uses this as the basis
of their own artworks.

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Stage 2 – Flowers
Title or subject matter: Flowers (190051)
Unit duration: 1 lesson
Artmaking practices or concepts:
drawing
shape and form
colour
proportion

Resources or materials
selection of flowers and vases or flowering pot
plants,
coloured table cloth or similar,
pastels, lead pencils, art paper, felt tip pens and/or
textas (sharpies),
selection of Margaret Preston still life images
featuring flowers in vases/pots.
(https://www.artgallery.nsw.gov.au/collection/works/?
artist_id=preston-margaret)

Content Outcomes Indicators addressed (refer to syllabus p.29)

VAS2.1: Represents the qualities of talks about and thinks about their intentions for artmaking
experiences and things that are and recognises how these affect their selection of ideas,
Making
interesting or beautiful by choosing materials, tools and techniques and methods of working
among aspects of subject matter.

experiments with techniques in painting, drawing,

photography, digital and video to create particular effects
VAS2.2: Uses the forms to suggest to suggest such things as close-ups, middle distance and
Making
the qualities of subject matter. long distance views, mood and atmosphere, light and dark
suited to how subject matter may be interpreted

VAS2.3: Acknowledges that artists

make artworks for different reasons discusses reasons why artists make artworks focusing on
Appreciating who, where, when, why and how
and that various interpretations are
possible.

VAS2.4: Identifies connections identifies resemblances between subject matter in

between subject matter in artworks artworks and the features of things as they exist in the
Appreciating and what they refer to, and world, recognising similarities and differences in how
appreciates the use of particular things are represented in the artworks
techniques.

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Sequence of learning experiences

1. Research Margaret Preston as a prominent Australian and the ways she approached her artmaking using the link
provided.
2. Study and discuss a variety of still life images by Margaret Preston. Many of these are woodcut prints that print the
black and then are hand coloured with paints. Discuss the boldness the black outline gives the overall images as
well as the individual colours contrasting against the black.
3. Arrange flowers on a central table (with cloth) in the classroom to provide views to all students from different
angles.
4. Explain to the students that they are to draw lightly in lead pencil. This will require a demonstration by the teacher
and allow students to practice so to obtain a light touch on paper.
5. Explain to the students that a still life is an image of something that does not move and can be used to celebrate
the joy an object brings, in this case, flowers. Construct a drawing of the still life setting. Encourage students to use
informal units of measurement to gain the correct proportions of flowers, stem and vase. For example, seeing that
a stem is the same height as a vase and transferring that same proportion to their drawing.
6. Outline drawing using felt pens and textas. Leave spaces for colour, so as to create a strong, solid black base to the
image.
7. Use coloured pastels to introduce colour to the still life. Experiment with different pressures to produce a variety
of effects and also blending colours to create new colours.
8. Select a soft colour pastel to fill in the background with the aim of eliminating any white from the image.

Assessment
Discusses their intentions for artmaking and recognises how these affect their use of materials, tools and
techniques and methods of working in creating art.
Experiments with techniques in drawing to create mood and atmosphere, using light and dark tones to
manipulate how others may view the work.
Discusses who Margaret Preston was and why she made artworks, focusing on where, when, why and how she
created images.
Identifies and discusses resemblances between flowers in own artworks and the features of flowers as they exist
in the world.

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Stage 2 – Landscape
Title or subject matter: Landscape (190064)
Unit duration: 1 lesson
Artmaking practices or concepts:
painting
shape and form
colour and value

Resources or materials
watercolour paints
brushes of various sizes
water containers
acrylic paints
art paper
Sarrita King landscape images (https://www.google.com/search?client=firefox-b-
d&biw=1920&bih=889&tbm=isch&sa=1&ei=WiZnXeiUL82srQG5zbHICA&q=sarrita+king+art&oq=sarrita&gs_l=img.1.2.0l5j0i30j0i24l4.1219299.12
wiz-img.......0i67j0i5i30.LL6Mf5dSAA8)

Content Outcomes Indicators addressed (refer to syllabus p.30)

VAS2.1: Represents the qualities of seeks to investigate traditions in art suited to different
experiences and things that are subject matter (for example the landscape, the figure, the
Making narrative, formal and abstract properties, the use of
interesting or beautiful by choosing
among aspects of subject matter. symbols) and uses these in their artmaking.

experiments with techniques in painting, drawing,

photography, digital and video to create particular effects
VAS2.2: Uses the forms to suggest to suggest such things as close-ups, middle distance and
Making
the qualities of subject matter. long distance views, mood and atmosphere, light and dark
suited to how subject matter may be interpreted

VAS2.3: Acknowledges that artists

make artworks for different reasons discusses reasons why artists make artworks focusing on
Appreciating who, where, when, why and how
and that various interpretations are
possible.

VAS2.4: Identifies connections identifies resemblances between subject matter in

between subject matter in artworks artworks and the features of things as they exist in the
Appreciating and what they refer to, and world, recognising similarities and differences in how
appreciates the use of particular things are represented in the artworks
techniques.

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Sequence of learning experiences

1. Study and discuss a variety of landscape images by Aboriginal artist Sarrita King using the link provided. Many of
these images are of country where Sarrita grew up and the Country where her father grew up. Discuss the idea
with the students that many of her works are monotone (one colour with varying values). Emphasise that King’s
work is contemporary work, not ancient work and that Aboriginal art and culture whilst having a long history, is
often contemporary (meaning today).
2. Discuss the idea that many Aboriginal artworks depicting landscapes are painted from an overhead or aerial (bird’s
eye) view of the country. Challenge the students to think of an area that they know well and imagine what it would
look like from far above. This could be their neighbourhood, a favourite holiday place, the school area, somewhere
that is important to them and their sense of belonging.
3. Create a list of basic shapes that the children are imagining from their birds eye view of their chosen area. These
shapes are representational and not literal. A square could be a building, a sports field, a group of trees. Explore
shapes imagined and discuss their geometrical properties. Investigate which shapes can tesselate to create new
images.
4. Record and draw these shapes as a class list. Note: these shapes can be any shapes, they do not have to align with
Sarrita King or any other Aboriginal works. The aim is not to copy (appropriate) Aboriginal art but understand it
and use it as a reference to create the student’s own style of art.
5. Explain to the students that they will lay down larger shapes on the paper using watercolour and then detail those
shapes with acrylic paints using smaller shapes repeatedly to create their landscape.
6. Have the students use the watercolours to start with base shapes in the central area of the art paper and build
outwards using colours that are complementary (colours that are placed next to each other on the colour wheel).
For example, yellows through to greens to blues, with varying tones. The colours in the Operation Art piece
transition through the complementary colours of red to orange through to yellow. Allow the painting of the shapes
to merge into other shapes as they collide.
7. Use smaller brushes and acrylic paints to detail the base shapes with repetition of smaller shapes taken from the
created list until all major shapes have been detailed.

Assessment
Investigates and recognises traditions and techniques used in Aboriginal artmaking practices related to the
landscape.
Experiments with techniques in painting to create particular effects to suggest such things as overhead or aerial
views, mood and atmosphere, colour values and hues and light and dark.
Discusses reasons why artists such as Sarrita King make artworks focusing on where, when, why and how the are
made. References similarities to creating their own works.
Identifies and discusses resemblances between landscape features in the student’s own artworks and the features
of things as they exist in the world. Recognises similarities and differences in how things are represented in their
artworks and the works of others.

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Stage 2 – Bird Print

Title or subject matter: Bird Print (190372)
Unit duration: 2 lessons
Artmaking practices or concepts:
printmaking

Resources or materials
lead pencils
A4 paper cut into A5 (half), A4 print foam pieces cut into A5
glue
Kate Hudson bird print images (https://www.google.com/search?client=firefox-b-
d&biw=1920&bih=889&tbm=isch&sa=1&ei=sDlnXa-NCITbz7sP9e-
giA0&q=kate+hudson+australian+bird+prints&oq=kate+hudson+australian+bird+prints&gs_l=im
wiz-img.Eq74QlJxXP4&ved=0ahUKEwivpf-_hafkAhWE7XMBHfU3CNEQ4dUDCAY)
selection of photos of birds
selection of tissue paper colours
ink trays (can be baking trays or similar), brayer rollers, black block ink,
newspaper, spoons

Content Outcomes Indicators addressed (refer to syllabus p.30)

VAS2.1: Represents the qualities of seeks to investigate traditions in art suited to different
experiences and things that are subject matter (for example the landscape, the figure, the
Making narrative, formal and abstract properties, the use of
interesting or beautiful by choosing
among aspects of subject matter. symbols) and uses these in their artmaking.

experiments with techniques in painting, drawing,

photography, digital and video to create particular effects
VAS2.2: Uses the forms to suggest to suggest such things as close-ups, middle distance and
Making
the qualities of subject matter. long distance views, mood and atmosphere, light and dark
suited to how subject matter may be interpreted

VAS2.3: Acknowledges that artists

make artworks for different reasons discusses reasons why artists make artworks focusing on
Appreciating who, where, when, why and how
and that various interpretations are
possible.

VAS2.4: Identifies connections identifies resemblances between subject matter in

between subject matter in artworks artworks and the features of things as they exist in the
Appreciating and what they refer to, and world, recognising similarities and differences in how
appreciates the use of particular things are represented in the artworks
techniques.

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Sequence of learning experiences

Lesson 1
1. Study and discuss a variety of bird print images by Kate Hudson using the link provided. Explain that printmaking
is the transfer of ink to paper from an etched surface. This may be metal, wood, linoleum, and so on. The students
will be using print foam (also known as scratch foam).
2. Research native birds of a particular geographical area as a stimulus and later use the prints to present research
findings. Collect photos from books and the internet.
3. Study the bird photos and have the students make basic sketches on A5 paper, using as much space on the paper
as they can. Emphasise that the drawings include no shading, only lines (lines as shading is acceptable).
Demonstrate different composition options for the students. The drawings could be close up images of just the
head and shoulders or views taking in the whole body of the bird.
4. Investigate options for background motifs for the bird drawings. Motifs are symbols that represent feelings and
connections to the subject. For example, leaves, branches, and so on. Use Kate Hudson’s work as references.
5. Add motifs to the bird drawings. Remind the students that anywhere on the drawing that doesn’t have lines will be
covered in ink once it is printed. The more lines on the drawing, the more effective it will be.
6. Use a fresh piece of A5 paper. Tear strips of coloured tissue paper and glue onto the A5 paper. Experiment with
how much of the A5 sheet is covered by the tissue paper. This is the sheet that the students will print their bird
images onto. The student should make multiple sheets to print onto as not every print is 100% effective. Set aside
the sheets for next lesson.

Lesson 2
1. Set up the print station. The number of print stations will depend on space and management resources. The
teacher will need to make this decision to suit their situation. The print station will consist of the print tray, a
newspaper pad (at least 6 sheets thick), 2 brayer rollers and block ink and spoon.
2. Issue the students with their bird drawings, a prepared print sheet (with tissue paper glued onto it) a lead pencil
and a piece of A5 print foam.
3. Demonstrate to the students how to draw and carve into the print foam. Explain that a lead pencil can be used to
draw the bird image onto the print foam. The image should be deep enough to be clearly felt with fingers without
tearing the foam or going right through the foam (think tyre tread). Teachers should trial this themselves
previously if they haven’t used print foam before. Angling the pencil whilst drawing into the foam is helpful, as is
not having a pencil that is too sharp.
4. Students then draw the bird image, patterns (feathers, shading lines) and background motifs into the print foam
carefully.
5. Demonstrate to class how to use the drawn print foam and block ink to create a print. Lay the print foam adjacent
to the ink tray on the newspaper. The ink tray has block ink spooned onto it (approximately a tablespoon amount).
Use one brayer roller to roll the ink over the tray until a sticky, puckered sound is created by the ink and the roller
is covered in ink. Roll the inked brayer over the print foam until the A5 sheet is well covered. Start lightly as you do
not want ink to enter into the drawn grooves. Place the A5 print sheet with tissue paper squarely face down onto
the inked print foam. Using a clean roller, firmly roll the back of the paper in all directions to transfer the ink to the
paper. The correct amount of ink and pressure will become clear after one or two attempts at this process
(practice before attempting with class). Peel the paper from print foam to reveal the printed image. The coloured
tissue paper now randomly provides colour through the printed image.
6. The print foam can be used again for additional prints. There is some trial and error to this process and students
may need to wash the print foam to remove the ink and deepen grooves if first print is not successful.

Assessment
Investigates printmaking examples and styles suited to birds as the subject matter and uses these styles in their
own artmaking such as line patterns and background motifs.
Experiments with techniques in drawing and printmaking to create particular effects in their own artworks.

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Discusses reasons why Kate Hudson makes artworks. Discussions should focus on why and how her artworks are
created.
Identifies and discusses resemblances between printed birds in Hudson’s artworks and birds as they exist in the
world, recognising similarities and differences.

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Stage 2 – Abstract
Title or subject matter: Abstract (190578)
Unit duration: 1 lesson
Artmaking practices or concepts:
shape and form
colour

Resources or materials
watercolour paints or inks
Wassily Kandisnsky images
(https://www.google.com/search?client=firefox-b-
d&biw=1920&bih=889&tbm=isch&sa=1&ei=IUlnXauXJ_jYz7sPpsq
wiz-img.......0i67.oTORAbWFBX8)
brushes of various sizes
water containers
oil pastel crayons
art paper
rulers

Content Outcomes Indicators addressed (refer to syllabus p.30)

VAS2.1: Represents the qualities of seeks to investigate traditions in art suited to different
experiences and things that are subject matter (for example the landscape, the figure, the
Making narrative, formal and abstract properties, the use of
interesting or beautiful by choosing
among aspects of subject matter. symbols) and uses these in their artmaking.

emphasises or exaggerates certain qualities of selected

subject matter by focusing on details, using distortion
VAS2.2: Uses the forms to suggest the and elongation, changing viewpoint or enlarging or
Making
qualities of subject matter. reducing the scale (for example, in drawing, painting,
digital works, video, sculpture)

recognises that people have different views about

VAS2.3: Acknowledges that artists artworks and their meanings that are informed by their
make artworks for different reasons understanding of such things as the circumstances of the
Appreciating
and that various interpretations are work, the artist’s intentions and skill, and what the work
possible. is about.

VAS2.4: Identifies connections

between subject matter in artworks expresses opinions about how well subject matter that is
Appreciating and what they refer to, and represented in particular forms refers to the world, and
appreciates the use of particular appreciates the skills involved to achieve these effects
techniques.

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Sequence of learning experiences

1. Study and discuss a variety of abstract images by Wassily Kandisnsky from the provided link. Discuss that
Kandisnsky’s work is abstract art. Abstract art is art that does not attempt to represent an accurate depiction of a
visual reality but instead use shapes, colours, forms and gestural marks to achieve its effect.
2. List basic shapes and forms that the students can see in Kandisnsky’s works. Record these for class use in later
steps. Discuss the colour combinations that can reflect different situations and feelings. Greens and blues may
symbolise water, reds and yellow for heat, playful colours and sad colours to reflect emotions. Record a list for the
class.
3. Explain to the students that they will create larger features on their paper using ruled dark crayon lines following
your instructions.
4. Give instructions to create lines and shapes listed in step 2 using black crayons. Use different measurement units
to create the features. For example, a straight line that is 15cm long, three parallel lines 130mm long, a scalene
triangle with one side twice as long as one of the others, two trapeziums, and so on. These instructions will invite
mathematical discussion and demonstrations.
5. The students then use the crayon colours from the list created in step 2 to complete some colourful spaces
formed by the dark lines. Encourage the students to use colour combinations to create an effect that the viewer
can interpret. Leave some clear spaces for inks or watercolour drips.
6. Using varying sized brushes, the students use watercolours or inks to drip colour onto white spaces. The colours
should align with the same colour scheme as used with the crayons. For example, happy colours such as pinks can
be matched with other happy colours such as purple or yellow. These drips can be left to dry flat or the students
can experiment by tilting the paper to allow the drips to run for a different effect.

Assessment
Investigates abstract art suited to a subject matter of the student’s choice. For example, the landscape, the figure,
abstract properties and symbols.
Emphasises or exaggerates certain qualities of abstract subject matter by focusing on using distortion and
elongation of lines.
Recognises that people have different views about abstract artworks and their meanings through discussions.
Expresses opinions about subject matter that is represented in abstract form refers to the world, and appreciates
the skills involved to achieve these effects.

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Stage 2 – Cartoon Animals

Title or subject matter: Cartoon Animals (190598)
Unit duration: 1 lesson
Artmaking practices or concepts:
drawing
line
proportion

Resources or materials
A3 coloured paper for mounting, art paper
Dr Seuss animal images (https://www.google.com/search?
client=firefox-b-
d&biw=1920&bih=889&tbm=isch&sa=1&ei=olFnXe39LKPSz7sPl
wiz-
img.......0i67j0j0i8i30j0i24.Y6EfsbJff_c&ved=0ahUKEwjt1qWrnKf
lead pencils, oil pastel crayons
A4 photocopied sheets of music or text from book
Scissors and glue
photo images of a variety of popular animals.

Content Outcomes Indicators addressed (refer to syllabus p.30)

focuses on details of subject matter and areas of beauty,

interest, awe, wonder and delight, for example,
facial expressions, body positions and body angles

VAS2.1: Represents the qualities of activities people are involved in

experiences and things that are the grace and speed of moving animals, birds,
Making
interesting or beautiful by choosing reptiles and fish
among aspects of subject matter.
contrasts in a streetscape and/or natural
environments
interior and exterior views

emphasises or exaggerates certain qualities of selected

subject matter by focusing on details, using distortion and
VAS2.2: Uses the forms to suggest elongation, changing viewpoint or enlarging or reducing
Making
the qualities of subject matter. the scale (for example in drawing, painting, digital works,
video, sculpture)

VAS2.3: Acknowledges that artists

make artworks for different reasons discusses reasons why artists make artworks focusing on
Appreciating who, where, when, why and how
and that various interpretations are
possible.

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VAS2.4: Identifies connections

between subject matter in artworks talks and writes about the meaning of artworks in terms of
Appreciating and what they refer to, and how subject matter realistically represents things in the
appreciates the use of particular world.
techniques.

Sequence of learning experiences

1. Study and discuss a variety of animal images by Dr Seuss from the link provided. Discuss the construction of these
images using strong, dark lines and simple colour fill to complete the image. Emphasise that the characters have
larger than real life eyes and mouths. This is a technique used in many styles of cartoon and illustration to add
expression to the characters.
2. Study the Operation Art Cartoon Animals image and point out the layering of paper to build the image. Also
highlight how the animal images are busts. Busts are images that only take in the head and shoulders of the
subject. Inform the students that they will draw busts of their selected animals.
3. Students take two sheets of art paper. Demonstrate how to fold both the sheets into four vertical sections that will
eventually be mounted onto the coloured A3 paper. Set one folded sheet aside for the animal busts to be drawn
later. Take the other sheet for the background and cut along the folds to give four sections. Glue torn strips of the
photocopied sheet music/text flat across each of the four sections.
4. To add to their background, the students will use texture rubbings. Demonstrate using a black crayon on a
textured surface such as a lego base. Using the black crayon will allow the colours to contrast and stand out more
once the whole artwork is completed. Allow the students to find four different textures to complete the rubbings
for the four sections. Set aside.
5. Cut the animal bust folded sheet into four sections. Use the sections to draw cartoon animal busts in lead pencil.
To draw the animal busts, observe the basic geometrical shape of the subject animal. Start the drawing with this
shape and build features and details of the subject animal onto these base shapes. Use Dr Seuss images as
inspiration or a guide for animal drawings. Emphasise the use of larger eyes for expression.
6. Use coloured crayons to colour fill the drawn cartoon animal and then outline the animal smoothly in black crayon
(tip-using black outline after the colour will lessen smudging of black). Students now have four different characters
to invent. They can make character studies giving each animal a name, setting, personality, and so on.
7. Cut the busts from the panels and glue onto the background pieces. Mount the completed panels onto the
coloured A3 paper to complete the mixed media image.

Assessment
Focuses on the details of selected animals and reflects this knowledge in an artwork.
Emphasises or exaggerates facial expressions of animals by focusing on details, using distortion and elongation to
create a comical visage.
Discusses reasons why artists make comical artworks and illustrations focusing on why and how.
Relates the meaning of their own cartoon artworks in terms of how the subject matter realistically represents
animals in the real world.

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Stage 2 – Cat
Title or subject matter: Cat (190634)
Unit duration: 1 lesson
Artmaking practices or concepts:
drawing

Resources or materials
lead pencils, coloured pencils
art paper
selection of Norman Lindsay cat drawings
(https://www.google.com/search?client=firefox-b-
d&biw=1920&bih=889&tbm=isch&sa=1&ei=c2tnXcbjMcP6z7sP9K6vmA0&q=no
wiz-
img.......0i24.j4vq8u2Yy1k&ved=0ahUKEwiG6d_6tKfkAhVD_XMBHXTXC9MQ4d
photocopies of a variety of cat photos
selection of media for adding colour to drawing.
drawing cats from shapes tutorial (https://www.youtube.com/watch?
v=rJWlF9-jslQ)

Content Outcomes Indicators addressed (refer to syllabus p.30)

VAS2.1: Represents the qualities of talks about and thinks about their intentions for artmaking
experiences and things that are and recognises how these affect their selection of ideas,
Making
interesting or beautiful by choosing materials, tools and techniques and methods of working
among aspects of subject matter.

experiments with techniques in painting, drawing,

photography, digital and video to create particular effects
VAS2.2: Uses the forms to suggest to suggest such things as close-ups, middle distance and
Making
the qualities of subject matter. long distance views, mood and atmosphere, light and dark
suited to how subject matter may be interpreted

recognises that people have different views about artworks

VAS2.3: Acknowledges that artists and their meanings that are informed by their
make artworks for different reasons understanding of such things as the circumstances of the
Appreciating
and that various interpretations are work, the artist’s intentions and skill, and what the work is
possible. about.

VAS2.4: Identifies connections

between subject matter in artworks expresses opinions about how well subject matter that is
Appreciating and what they refer to, and represented in particular forms refers to the world, and
appreciates the use of particular appreciates the skills involved to achieve these effects
techniques.

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Sequence of learning experiences

Warning: some of Lindsay’s work is inappropriate for students. Always take care to select appropriate images.
1. Study and discuss a variety of cat images by Norman Lindsay provided in the link. Include cat drawings that show
the working lines from Lindsay. Discuss the idea that drawing is like writing, we draft and edit and improve before
settling on a final product.
2. Norman Lindsay was an author as well as an artist. The students can compose a poem related to cats as a
stimulus for their drawings.
3. Study the cat photographs. Using the photocopies of cats, and have the students trace over the photocopied cats
only using geometrical shapes. The idea is to become aware of the shapes involved in drawing the body and head
structure and to move away from sausage shaped bodies and straight lines for the legs. Think of the shapes
representing the skeletal sections of the body such as the head, shoulder, spine and hips.
4. Using lead pencil, the students can draft drawings of cats using light lines that can later be darkened in. This may
need demonstrating by the teacher and practice by the students to control the pencil. Use the link provided to
watch a tutorial on this method of drawing. Combine shapes to build and draft features such as circles and
triangles for the head, ears and snout. Encourage the students to observe the cat photos closely to find details and
shapes and not to draw what they think a cat looks like, but what they actually see. Softer, rounded lines can be
applied around the shapes to enhance the drawing once the basic shapes have formed the body.
5. The students can repeat process of drawings by changing the cat photo stimulus so that the body positions and
the angle of viewing is different. Reference Lindsay’s drawings that show the line of the backbone being important
to the pose.
6. After drawing a number of images, the students may select their favourite draft drawing to use as their primary
image. This image can be redrawn on a fresh sheet of paper or the draft drawing may be used. Students should
darken in the lines of the draft that are the most favourable as in the link provided.
7. To add to their background, the students can place a horizon line behind the cat, as in the Operation Art example.
This will create a setting for the cat. The setting could be an interior view with a wall as background or an exterior
view with fencing or a yard in view. Reference Lindsay’s drawings to see how he places some shading around the
cat to create depth.
8. Use a selection of the materials available to add colour to the image. Encourage the students to use colour to add
to the setting by using light and dark tones to create light and shadows within the setting.

Assessment
Discusses their selection of tools, techniques and methods of working in completing a drawing study of cats.
Experiments with techniques in drawing to create light and shadow effects in artworks.
Discusses reasons why Norman Lindsay made artworks. Discussions should focus on why and how his artworks
were created.
Identifies and discusses resemblances between cats in Norman Lindsay’s drawings and cats as they exist in the
world, recognising similarities and differences.

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Stage 3 – Reflection
Title or subject matter: Reflection (190102)
Unit duration: 1 lesson
Artmaking practices or concepts:
painting
proportion
position
scale
composition
drawing
balance

Resources or materials
Ben Quilty Rorschach style landscape (https://collection.bendigoartgallery.com.au/objects/4477)
photos of landscape reflections (https://www.google.com/search?client=firefox-b-
d&biw=1335&bih=838&tbm=isch&sa=1&ei=8TluXd32NtL6z7sPhrKegAk&q=australian+landscape+reflection&oq=australian+landscape+reflectio
wiz-img.BRpBpI7Jf7Y&ved=0ahUKEwids63dsrTkAhVS_XMBHQaZB5AQ4dUDCAY&uact=5)
art paper, lead pencil, acrylic paints, brushes and newspaper.

Content Outcomes Indicators addressed (refer to syllabus p.31)

VAS3.1: Investigates subject closely observes details of things in the world and seeks to
matter in an attempt to make artworks about these using various techniques such as
Making
represent likenesses of things in proportion, perspective, composition, foreshortening
the world.

examines a range of concepts and their relationships to

selected forms and experiments with such things as the
VAS3.2: Makes artworks for expressive use of colour in painting or drawing, the abstract
Making different audiences assembling and/or monumental qualities of sculpture, the sequencing of
materials in a variety of ways. events in a video, digital work or cartoon, the use of found
objects and other objects in an installation or sculptural work

VAS3.3: Acknowledges that

audiences respond in different talks about and writes about the meaning of artworks
Appreciating ways to artworks and that there recognising how artworks, can be valued in different ways by
are different opinions about the themselves as audience members, and by others
value of artworks.

VAS3.4: Communicates about discusses the artist’s intention and/or the use of styles and
Appreciating the ways in which subject matter techniques in selected works and considers the possible
is represented in artworks. meanings of these works

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Sequence of learning experiences

1. Study Ben Quilty’s Rorschach landscape artwork using the link provided. Compare it to the Operation Art
landscape example. Find the similarities in the use of the of reflection in the composition of both images. Identify
features in each painting, such as trees, mountains and so on, and discuss the use of symmetry as a visual
technique to show objects reflected. Discuss the Rorschach technique which is the folding of a wet image to
monoprint the image onto the other side of the paper. Reference the possibility that the students had done this
previously in creating butterflies at a younger age. Note that Ben Quilty’s line of symmetry is vertical not horizontal
as in the Operation Art example.
2. Have prepared images of landscape reflections from the link provided. Discuss with the students how they feel
about the areas in the images. Have the students select a landscape photo which they will paint. Ensure they can
clearly identify the line of symmetry in the image. At this point, the students may choose to follow Ben Quilty’s
technique of using a vertical line of symmetry.
3. To begin the landscape, the students use lead pencil to draw or fold the line of symmetry across the whole paper.
4. Using light construction lines, draw in the details of the landscape into one half of their divided paper.
5. Paint the image using acrylic colours. Students will need to apply generous amounts of paint promptly to ensure
the paint stays wet. Work from the background forward to the foreground as this makes it easier to join the
sections of the composition by overlapping the paint.
6. Before the paint dries, fold the blank half of the paper over to make contact with the painted side of the paper.
Have students carefully use hand pressure to transfer the paint to the blank side. Peel apart. The original image
will now have a slightly distorted appearance matching the printed side.
7. Students may take the opportunity to paint back into the image with minor additions to add detail to the
landscape.

Assessment
Observes details of landscape and creates artworks containing these details using techniques such as symmetry
and composition.
Discusses the concepts and techniques related to experimenting with painting and printing landscapes using the
Rorschach technique. Explores how this can inform their own artmaking.
Identifies and discusses artmaking practices, techniques and concepts in which Ben Quilty as an artist depicts
landscapes as depicted in his Rorschach style painting.
Describes the impact of the techniques used by Ben Quilty in them as an audience member.

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Stage 3 – Pop Art

Title or subject matter: Pop Art (190140)
Unit duration: 1 lesson
Artmaking practices or concepts:
painting
shape and form
scale
composition
colour and value

Resources or materials
Andy Warhol food artworks (https://www.google.com/search?
q=%E2%80%A2%09Andy+Warhol+food+artworks&client=firefox-b-
d&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjRkOGynLTkAhXv7XMBHVLhBxMQ_AUIESgB&biw=13
photos or examples of food and drink packaging
art paper, cardboard sheets, lead pencils, acrylic paints, scissors, brushes and
glue.

Content Outcomes Indicators addressed (refer to syllabus p.31)

closely observes details of things in the world and

VAS3.1: Investigates subject matter in an seeks to make artworks about these using various
Making attempt to represent likenesses of things techniques such as proportion, perspective,
in the world. composition, foreshortening

recognises how an audience has an influence on the

VAS3.2: Makes artworks for different kinds of works they make, and seeks to clarify the
Making audiences assembling materials in a purpose of their works, and suggests alternatives
variety of ways. about how they may proceed

VAS3.3: Acknowledges that audiences identifies some of the reasons why artworks are made
respond in different ways to artworks (for example, the artist’s personal interest and
Appreciating experience, a work commissioned for a site, a work
and that there are different opinions
about the value of artworks. made to commemorate an event in a community)

VAS3.4: Communicates about the ways in discusses the artist’s intention and/or the use of styles
Appreciating which subject matter is represented in and techniques in selected works and considers the
artworks. possible meanings of these works

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Sequence of learning experiences

1. Study Andy Warhol’s artworks using the link provided. Compare them to the Operation Art landscape example.
Find the similarities in the use of the of colour and scale in the composition of the images. Inform the students
that Andy Warhol had a background in advertising artwork before becoming a famous artist.
2. Have prepared images or examples food and drink packaging. Ask the students which products appeal to them
and if there are any visual elements in the packaging of the products that appeal to them. Discuss the appeal of
these elements. Have the students select a number of products to represent in their collage artwork.
3. The students will have to consider the composition of their artwork. Have the students consider if they will have a
person in their work, how they will position the products across their paper, will they have the food or drink out of
the packaging and so on. Inform students that artists always have to make compositional decisions in their works
and that they may consider who their viewing audience will be and decide if this influences their decision making.
4. Using light construction lines, draw each of the products and any characters onto the cardboard ensuring the use
of appropriate proportion to align with the planned composition of the image. Use rulers to measure for accuracy
of the proportions of the products.
5. Paint the images using bold acrylic colours. Work from the background forward to the foreground as this makes it
easier to join the sections of the composition by overlapping the paint.
6. Once the painted images are dry, have students cut images and glue them on the art paper to construct the
composition of their collage. Encourage the students to experiment with the form of the cardboard pieces to
represent the food product. For example, a can may be rounded before gluing, chips may have curve to them,
packets may be folded or wrinkled to show depth.

Assessment
Closely observes details of food and drink packaging and creates artworks containing these details using
techniques such as form, scale and composition.
Discusses the possible audience for their food and drink artwork and how they have attempted to engage the
viewer.
Identifies and discusses artistic techniques used in the packaging of food and drinks. Relates these to own
artworks.
Identifies and describes the use of different materials and techniques in Andy Warhol’s artworks.

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Stage 3 – Insect
Title or subject matter: Insect (190157)
Unit duration: 1 lesson
Artmaking practices or concepts:
drawing
line
shape and form
colour
texture

Resources or materials
Pro Hart dragonfly paintings (https://www.google.com/search?client=firefox-b-
d&biw=1335&bih=838&tbm=isch&sa=1&ei=IUluXYOZHvjFz7sPoqyS8A8&q=pro+hart+dragon+fly+paintings&oq=pro+hart+dragon+fly+paintings&
wiz-img.Pvfrtn7CG5k&ved=0ahUKEwjDrY2bwbTkAhX44nMBHSKWBP4Q4dUDCAY&uact=5)
Lord Howe phasmid photos (https://www.google.com/search?client=firefox-b-
d&biw=1335&bih=838&tbm=isch&sa=1&ei=ZEduXaedFfTYz7sPwbK6uAw&q=lord+howe+phasmids&oq=lord+howe+phasmids&gs_l=img.3...6517
wiz-img.e5m-OkqhwUg&ved=0ahUKEwin3-vGv7TkAhV07HMBHUGZDscQ4dUDCAY&uact=5)
art paper
acrylic paints, water colour paints, brushes, sponges, cardboard strips, scrunched balls of newspaper, paper
drinking straws and bottle lids
lead pencils and felt tip pens
squeezable sauce bottles containing black acrylic paint

Content Outcomes Indicators addressed (refer to syllabus p.31)

VAS3.1: Investigates subject uses different artistic concepts (for example, colour, tone,
matter in an attempt to light, scale, abstract), and explores how symbols may be used
Making
represent likenesses of things in in their interpretation of selected subject matter
the world.

examines a range of concepts and their relationships to

selected forms and experiments with such things as the
VAS3.2: Makes artworks for expressive use of colour in painting or drawing, the abstract
Making different audiences assembling and/or monumental qualities of sculpture, the sequencing of
materials in a variety of ways. events in a video, digital work or cartoon, the use of found
objects and other objects in an installation or sculptural work

VAS3.3: Acknowledges that

audiences respond in different talks about and writes about the meaning of artworks
Appreciating ways to artworks and that there recognising how artworks, can be valued in different ways by
are different opinions about the themselves as audience members, and by others
value of artworks.

VAS3.4: Communicates about discusses the artist’s intention and/or the use of styles and
Appreciating the ways in which subject matter techniques in selected works and considers the possible
is represented in artworks. meanings of these works

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Sequence of learning experiences

1. Study and discuss a variety of dragonfly images by Pro Hart from the link provided. Discuss how the dragonflies
are positioned and how much of the artwork is taken up by the image. Discuss the different techniques employed
by Pro Hart across his dragonfly paintings.
2. Study the phasmid photographs from the link provided and to become aware of the shapes involved in building
the body and head structure and the number of sections to the legs. Think of the shapes representing the sections
of the body, head and legs.
3. Students use lead pencils to draft drawings, based on the phasmid photographs, using light lines that can later be
darkened in. Encourage looking closely at the photographs to find lines and shapes and not to draw what they
think the insect looks like, but what they actually see.
4. Once the students have drawn the phasmid, paint the background liberally with light water colour paint, covering
the entire background.
5. Have students drip stronger water colour droplets onto the background. Use colours complementary of the
background colour (colours that are next to each on the on the colour wheel) and use the paper straws to blow the
wet droplets in different directions. Express clear expectations on safety and appropriate use of materials.
6. The drawn phasmid image should still be visible under the watercolours. Have students experiment with a variety
of available materials to apply the acrylic paints to define the sections of the phasmid’s body, head and legs. Use
colours that contrast (sit opposite each other on the colour wheel) with the background colours to create the
phasmid.
7. Encourage the students to add details and motifs to the background by using dark felt tip pens.
8. Use the squeezable sauce bottles to loosely apply the black acrylic paint around the phasmid image as an outline.
The consistency of the paint may need to be watered down to allow it to flow smoothly. Trial this before allowing
students to apply to their paintings.

Assessment
Demonstrates the artistic concepts of colour, line and texture in their creation of an insect portrait using colour
droplets and other watercolour techniques.
Experiments with and explains the use of a range of techniques in the creation their own artworks including
drawing and painting styles.
Discusses the value of their artworks, recognising that artworks can be viewed differently by audience members
who didn’t participate in the enjoyment of the artmaking experience.
Describes the use of colour, materials and drawing techniques in Hart’s artworks and uses these as the basis of
their own artmaking.

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Stage 3 – Portrait
Title or subject matter: Portrait (190481)
Unit duration: 1 lesson
Artmaking practices or concepts:
drawing
painting

Resources or materials
Ahn Do portrait images (https://www.google.com/search?client=firefox-b-
d&biw=1920&bih=889&tbm=isch&sa=1&ei=ynBnXd3_NITbz7sPgsydmAw&q=ahn+do+portraits&oq=ahn
wiz-img.......0i67.p3jpVd8rHvM)
portrait photos of students being expressive, prepared before lesson and
photocopied
art paper, lead pencil, acrylic paints, brushes, newspaper.
drawing tutorial for head shapes (https://www.youtube.com/watch?v=ot4HJ8iXOpk)

Content Outcomes Indicators addressed (refer to syllabus p.31)

closely observes details of things in the world and

VAS3.1: Investigates subject matter in an seeks to make artworks about these using various
Making attempt to represent likenesses of techniques such as proportion, perspective,
things in the world. composition, foreshortening

discusses the conditions and requirements of artworks

VAS3.2: Makes artworks for different that are made for particular purposes, sites or events
Making audiences assembling materials in a and how those conditions and requirements can affect
variety of ways. how they might go about their own artmaking.

VAS3.3: Acknowledges that audiences identifies some of the reasons why artworks are made
respond in different ways to artworks (for example, the artist’s personal interest and
Appreciating experience, a work commissioned for a site, a work
and that there are different opinions
about the value of artworks. made to commemorate an event in a community)

identifies and describes the properties of different

VAS3.4: Communicates about the ways forms, materials and techniques in artworks and
Appreciating in which subject matter is represented in comments on how these are employed in the
artworks. representation of subject matter

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Sequence of learning experiences

1. Study Ahn Do’s portrait’s using the link provided.
2. Ensure the students do not complete their own portrait. Distribute the expressive photograph images of students
prepared before the lesson to classmates for creation of portraits. Discuss how they feel as both the artist and
subject.
3. To begin the portrait, the students use lead pencil to draw the head shape outline filling the majority of the art
paper. Head shapes can be constructed by drawing an oval shape lying horizontally to represent the cranium and
a trapezium joined to the base of the oval to form the jaw. The cranium is the widest part of a skull. Use the link
provided to demonstrate this technique. Draw the head shape large enough to comfortably add in the facial
details.
4. Draw light construction lines to divide the head shape in half vertically and horizontally.
5. Studying the expressive student photos, students use the construction lines as a guide to place the facial details in
their drawing. Eyes sit on the horizontal construction line. The idea that the eyes are halfway up our faces is a
difficult concept for some students to grasp. The hair sits over the skull, not growing up from the top of the head.
The eyes are divided by the width of the nose at the nostrils. Ears sit on the same horizontal construction line. Use
the vertical construction line to position the line of the mouth, the jawline and lips to complete face.
6. Discuss with students, the colours in Ahn Do’s portraits. Observe that Ahn Do doesn’t always use realistic colour
matches, rather matching tones to create shadows and highlights on the face. Lighter tones bring features such as
the nose, chin and forehead forward whilst darker tones sink features such as creases, shadows eyes and the top
lip back into the face. Encourage students to pay attention to the shapes and lines that create the expression in
the face. These will predominately be the eyes, eyebrows and mouth.
7. When the facial drawing is complete, prepare a palette of acrylic paints avoiding black. Allow students to mix
colours whilst painting using a tray or plate.
8. Students mix colours to produce light and dark effects and paint faces with short controlled strokes that follow the
contours of the face. Discourage flat areas of painting that are used as colouring in.
9. Discuss how the students would paint the portraits differently if their subjects were historical figures.

Assessment
Closely observes details of faces and creates artworks containing these details using expressive drawing
techniques.
Discusses the aims of being an artist painting a portrait and how this can affect how they might go about their own
artmaking.
Identifies some of the reasons why portraits are made and have been made in the past. For example, the artist’s
personal interest, a work commissioned for a sitter or a work made to commemorate a person in a community.
Identifies and describes the properties of different materials and techniques in artworks and comments on how
these are employed in the representation of portraits.

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Stage 3 – Animal Portrait

Title or subject matter: Animal Portrait (190584)
Unit duration: 1 lesson
Artmaking practices or concepts:
drawing
line

Resources or materials
Albrecht Durer animal portrait images (https://www.google.com/search?
client=firefox-b-
d&biw=1920&bih=889&tbm=isch&sa=1&ei=LptnXfKUC4Daz7sP5beuqAs&q=albrecht+durer++b
1j7j4......0....1..gws-wiz-
img.......0i67.V0afW5HWYIE&ved=0ahUKEwjy4_W84qfkAhUA7XMBHeWbC7UQ4dUDCAY&uac
photocopied photo images of pet animals
art paper, charcoal sticks, coloured pencils, pencil erasers

Content Outcomes Indicators addressed (refer to syllabus p.31)

uses different artistic concepts (for example, colour,

VAS3.1: Investigates subject matter in an tone, light, scale, abstract), and explores how symbols
Making attempt to represent likenesses of things may be used in their interpretation of selected subject
in the world. matter

discusses the conditions and requirements of

VAS3.2: Makes artworks for different artworks that are made for particular purposes, sites
Making audiences assembling materials in a or events and how those conditions and requirements
variety of ways. can affect how they might go about their own
artmaking.

VAS3.3: Acknowledges that audiences talks about and writes about the meaning of artworks
respond in different ways to artworks recognising how artworks, can be valued in different
Appreciating ways by themselves as audience members, and by
and that there are different opinions
about the value of artworks. others

VAS3.4: Communicates about the ways discusses the artist’s intention and/or the use of styles
Appreciating in which subject matter is represented in and techniques in selected works and considers the
artworks. possible meanings of these works

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Sequence of learning experiences

1. Study and discuss a variety of animal images of Albrecht Durer from the link provided. Discuss the idea that
drawing is like writing, we draft and edit and improve before settling on a final product. Discuss how the animals
are positioned and how much of the artwork is taken up by the image. Discuss why someone would want a
portrait of their pet. Discuss why an artist would draw a pet portrait.
2. Study the pet animal photos and using the photocopies of pets, the students use coloured pencils to trace over
the photocopied animals only using geometrical shapes. The idea here is to become aware of the shapes involved
in building the body and head structure and to move away from sausage shaped animal bodies and straight line
legs. Think of the shapes representing the skeletal sections of the body, head, shoulder, hips, ribcage and limbs all
joined to the line of the spine.
3. Explain that working with charcoal produces a monotone image. Monotone in art is the use of one colour, varying
the shades to darken and tints to lighten. Use Durer’s monotone images as examples of this.
4. Students use charcoal to draft drawings, based on the photocopied animal photos, using light lines that can later
be darkened in. This may need demonstrating and practice. To draft, combine the shapes to build features such as
circles and triangles for the head, ears and snout. Encourage looking closely at the pet photos to find details and
shapes and not to draw what they think the pet looks like, but what they actually see.
5. Once shapes have formed the body the students use softer, rounded lines around the shapes to enhance the
drawing.
6. Repeat the process of drafting drawings by changing pet photo stimulus so that the body positions and angle of
viewing is different. Reference Durer’s drawings showing how he uses the main body shape to position the
drawing.
7. After drawing a number of images, the students select their favourite to use as their primary image. This can be
redrawn on a fresh sheet of paper or the draft image may be used. Darken in the lines of the draft that are the
most favourable. These are known as lines of best fit. Encourage the students to use long lines at this stage of the
drawing. By varying the pressure and angle of the charcoal the thickness and quality of the line can be varied for
effect.
8. Encourage the students to add detail by using dark and light in their images. To lighten a charcoal drawing, erasers
can be used as a drawing implement. By using the edge of an eraser the students will be able to lighten parts of
the drawing. Light brings features forward and dark will set details back. Charcoal affords the students the chance
to be very dark in the dark recesses of the drawing. The greater difference between the light and dark areas will
create greater contrast and a stronger effect.
9. Use the charcoal to shade in gradients to create the background. Challenge students to think of where light is
hitting or creating shadow. Alternatively, shading can create a mood for the image by the use of dark or light
shading. The mood of the image can be incorporated into a persuasive writing piece that aims to adopt out the pet
featured in the portrait

Assessment
Uses the artistic concepts of monotone, lightening tints and darkening shades in their creation of an animal
portrait.
Discusses why pet portraits are made for particular purposes and how requirements can affect the way artists
might go about their own artmaking.
Discusses the meaning of portraits recognising how artworks, can be viewed differently by audience members
through producing an artist statement to accompany the portrait.
Discusses the use of monotone, materials and drawing techniques in Durer’s artworks.

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Stage 3 – Collagraph Print

Title or subject matter: Collagraph Print (190599)
Artmaking practices or concepts:
shape and form
printmaking

Resources or materials
Charles Shultz Peanuts images
(https://www.google.com/search?
q=charles+shultz+peanuts&client=firefox-b-
d&source=lnms&tbm=isch&sa=X&ved=0ahUKEwic_pmt8qvkAhW
printed A4 photo portraits of students
art paper
block ink or thick acrylic paints
paint brushes, sponges
glue, scissors, lead pencils
thick cardboard from packing boxes cut into A5
pieces
newspaper
Collagraph instructional video
(https://www.bing.com/videos/search?
q=collagraph+print+cardboard&&view=detail&mid=44E5B6EEE8

Content Outcomes Indicators addressed (refer to syllabus p.31)

uses different artistic concepts (for example, colour,

VAS3.1: Investigates subject matter in an tone, light, scale, abstract), and explores how symbols
Making attempt to represent likenesses of may be used in their interpretation of selected subject
things in the world. matter

discusses the conditions and requirements of artworks

VAS3.2: Makes artworks for different that are made for particular purposes, sites or events
Making audiences assembling materials in a and how those conditions and requirements can affect
variety of ways. how they might go about their own artmaking.

VAS3.3: Acknowledges that audiences

respond in different ways to artworks recognises that views about artworks can change over
Appreciating time and are affected by different theories and beliefs.
and that there are different opinions
about the value of artworks.

identifies and describes the properties of different

VAS3.4: Communicates about the ways forms, materials and techniques in artworks and
Appreciating in which subject matter is represented in comments on how these are employed in the
artworks. representation of subject matter

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Sequence of learning experiences

1. Introduce Charles Shultz and his Peanuts characters using the link provided. Discuss how popular the strip and it’s
characters were during the 1960’s and 1970’s. This would be an opportunity to carry out historical research of the
impact the Peanuts strip made during it’s heyday and the legacy of the strip in the 21st century.
2. Demonstrate a simple collagraph print or view the instructional video using the link provided. Discuss the
materials and techniques used.
3. Have the students draw a variety of Peanuts’ style of images and assess which ones are simpler or more difficult to
draw. Discuss and decide which will be easier to create a print with.
4. Have the students draw a selected character onto a piece of A5 cardboard and carefully cut around the outline.
Point out to the students that details can be added during the printing process.
5. Glue the cut image onto another piece of A5 cardboard to form the print plate. Explain to the students that print
plate may be used multiple times, especially if the paint is removed between prints to avoid the cardboard
becoming soggy.
6. Use paint brushes to apply the block ink or thick acrylic paints to the character image on the plate. Details such as
eyes and mouth can be painted in at this stage. Use a sponge or brush to apply the ink or paint to the background.
7. Lay a piece of art paper over the painted print plate and use gentle hand pressure to transfer the paint the paper.
Peel away to view the printed image. This process may require some trial and error to achieve the best results and
the students should be encouraged to experiment with multiple prints. Wipe the paint off the print plate between
prints using newspaper or paper towel. Use different colours and paint application techniques to create different
visual effects.
8. Students should label and number their prints as they are printed with a lead pencil. The students can then curate
their own prints to display their selection of favourite prints.

Assessment
Discusses how varying the colour of the collagraph prints affects the image as seen by the viewer.
Discusses the positives and negatives of collagraph prints and the particular purpose of this artmaking method.
Identifies and describes the materials and techniques used in the representation of Peanuts characters through
collagraph printing.

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Stage 3 – Anthropomorphism
Title or subject matter: Anthropomorphism (190606)
Artmaking practices or concepts:
shape and form
proportion

Resources or materials
Rona Green images (https://www.google.com/search?q=rona+green+artworks&client=firefox-b-
d&source=lnms&tbm=isch&sa=X&ved=0ahUKEwi4qfiF8KfkAhXLR30KHW_cDmEQ_AUIESgB&biw=192
printed A4 photo portraits of students
A4 Blank paper
watercolour or acrylic paints
paint brushes
glue, scissors, charcoal sticks or lead pencils
animal pictures
A3 coloured mounting paper

Content Outcomes Indicators addressed (refer to syllabus p.31)

explores subject matter of personal and social interest

VAS3.1: Investigates subject matter in an from particular viewpoints including issues, activities
Making attempt to represent likenesses of and events in the community and global environment,
things in the world. places and spaces, people, objects and fantasies.

discusses the conditions and requirements of artworks

VAS3.2: Makes artworks for different that are made for particular purposes, sites or events
Making audiences assembling materials in a and how those conditions and requirements can affect
variety of ways. how they might go about their own artmaking.

VAS3.3: Acknowledges that audiences talks about and writes about the meaning of artworks
respond in different ways to artworks recognising how artworks, can be valued in different
Appreciating ways by themselves as audience members, and by
and that there are different opinions
about the value of artworks. others

identifies and describes the properties of different

VAS3.4: Communicates about the ways forms, materials and techniques in artworks and
Appreciating in which subject matter is represented in comments on how these are employed in the
artworks. representation of subject matter

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Sequence of learning experiences

1. Prepare the student portraits A4 photocopies before lesson. Many schools have these from school photos.
2. Discuss the term ‘Anthropomorphism’. Explain that in this context anthropomorphism relates to human qualities
and characteristics being assigned to animals.
3. List human characteristics displayed by Rona Green creations using the link provided. Study and discuss the bold
lines she uses in her work.
4. Fold the photo print vertically and fold the A4 blank sheet vertically. Unfold both and use the crease to centre both
sheets. Use the classroom windows to trace head and shoulder shape from the photo print to the blank paper to
form a half head and shoulder outline on the blank paper.
5. Still tracing, locate the positions of mouth, nose and eye onto the head shape on the blank paper.
6. Using the animal photos as a stimulus, the students draw in the animal features and details of anthropomorphic
creation onto the half head shape drawn by tracing
7. Use completed drawing to discuss two contrasting character descriptions using the two halves of the artwork.
Reference superhero alter egos such as Clark Kent and Superman, Bruce Wayne and Batman as examples.
8. Using the alter ego characters developed, the students paint to complete anthropomorphic character and original
photo giving consideration to mood and feelings of each side of the character. This thinking can be extended to
the background.
9. Cut the spare paper away from the anthropomorphic panel. Keep the photo sheet as a base and mount the
anthropomorphic half head over half of the photo base to complete the head shape.
10. Mount on A3 coloured paper considering contrasting colours to highlight the creation. Contrasting colours sit
opposite each other on the colour wheel and they help each other stand out. Orange and blue, red and green,
purple and yellow are contrasting combinations.

Assessment
Explores creation of an anthropomorphic character from particular viewpoints, duel character traits and
personalities.
Discusses the meaning of their artworks recognising how they can be viewed in different ways by themselves as
audience members.
Able to match head shapes and animal features to identify and complete an anthropomorphic character.
Identifies and describes the properties of the two different forms and the use of materials and techniques in the
artwork.

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Stage 3 – Landscape
Title or subject matter: Landscape (190620)
Artmaking practices or concepts:
painting
proportion
position
scale
composition

Resources or materials
Elaine Russell artwork, Lachlan River,
our childhood dreams
(https://www.artgallery.nsw.gov.au/collection/wor
photos of landscape area being
studied in HSIE
art paper, lead pencil, acrylic paints,
brushes and newspaper.

Content Outcomes Indicators addressed (refer to syllabus p.31)

closely observes details of things in the world and

VAS3.1: Investigates subject matter in an seeks to make artworks about these using various
Making attempt to represent likenesses of techniques such as proportion, perspective,
things in the world. composition, foreshortening

discusses the conditions and requirements of artworks

VAS3.2: Makes artworks for different that are made for particular purposes, sites or events
Making audiences assembling materials in a and how those conditions and requirements can affect
variety of ways. how they might go about their own artmaking.

VAS3.3: Acknowledges that audiences talks about and writes about the meaning of artworks
respond in different ways to artworks recognising how artworks, can be valued in different
Appreciating ways by themselves as audience members, and by
and that there are different opinions
about the value of artworks. others

VAS3.4: Communicates about the ways discusses the artist’s intention and/or the use of styles
Appreciating in which subject matter is represented in and techniques in selected works and considers the
artworks. possible meanings of these works

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Sequence of learning experiences

1. Study Elaine Russell’s Lachlan River artwork using the link provided. Compare it to the Operation Art landscape
example. Find the similarities in the use of the of foreground, mid ground and background in the composition of
both images. Identify features in each section, such as trees, mountains and so on, and discuss the use of
proportion as a visual technique to show objects closer or further away.
2. Have prepared images of landscape areas that the students may be studying in HSIE or familiar landscape areas
close to home. Discuss with the students how they feel about the areas in the images. Have the students select a
landscape photo in which they can clearly identify the foreground, mid ground and background.
3. To begin the landscape, the students use lead pencil to draw the areas representing the foreground, mid ground
and background using light, basic lines that construct the foreground, mid ground and background across the
whole paper.
4. Using light construction guidelines, draw in details into each of the foreground, mid ground and background
ensuring the use of proportion to create distance in the image. Use Elaine Russell’s trees as an example for this
technique.
5. Paint the image using bold acrylic colours. Work from the background forward to the foreground as this makes it
easier to join the sections of the composition by overlapping the paint.
6. Note the use of outlining features in the landscape by Elaine Russell. She outlines the clouds, mountains, bushes
and trees to add highlights to these features. Encourage the students to follow this technique and identify features
that are important to them and make a colour choice for the outlines.

Assessment
Closely observes details of landscape and creates artworks containing these details using techniques such as
proportion and composition.
Discusses the feelings associated with painting different landscapes and how this can affect how they might go
about their own artmaking depending upon the artist’s relationship with the area being painted.
Identifies and discusses ways in which Elaine Russell as an artist depicts her strong feelings about the Lachlan
River as depicted in her painting.
Identifies and describes the positive properties of different materials and techniques in Elaine Russell’s ‘Lachlan
River’ artwork and comments on how these are employed in the representation of the landscape.

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Stage 3 – Expressionist Animal

Title or subject matter: Expressionist Animal (190683)
Artmaking practices or concepts:
painting
colour – value and hue
drawing
texture
proportion
position

Resources or materials
Franz Marc, The Blue Fox 1911 (https://www.wikiart.org/en/franz-marc/blue-fox-1911)
photocopies of animals
art paper, lead pencils, acrylic paints, brushes and rulers.

Content Outcomes Indicators addressed (refer to syllabus p.31)

closely observes details of things in the world and

VAS3.1: Investigates subject matter in an seeks to make artworks about these using various
Making attempt to represent likenesses of techniques such as proportion, perspective,
things in the world. composition, foreshortening

discusses the conditions and requirements of artworks

VAS3.2: Makes artworks for different that are made for particular purposes, sites or events
Making audiences assembling materials in a and how those conditions and requirements can affect
variety of ways. how they might go about their own artmaking.

VAS3.3: Acknowledges that audiences talks about and writes about the meaning of artworks
respond in different ways to artworks recognising how artworks, can be valued in different
Appreciating ways by themselves as audience members, and by
and that there are different opinions
about the value of artworks. others

VAS3.4: Communicates about the ways discusses the artist’s intention and/or the use of styles
Appreciating in which subject matter is represented in and techniques in selected works and considers the
artworks. possible meanings of these works

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Sequence of learning experiences

1. Study Franz Marc’s, ‘The Blue Fox’ using the link provided. Discuss the colours used in the fox, noting that it has
more purple than blue. Discuss the possibility that he title refers to mood rather than colour. Ask the students
what they think Marc was wanting the viewer to see and think about the fox.
2. Explain to the students that this painting is an expressionist painting. Expressionism refers to art in which the
image is made to be expressive of the artist’s inner feelings or ideas. In expressionist art, colour in particularly
highly intense and non-naturalistic, brushwork is typically free and paint application tends to be generous and
highly textured. List ways that the students can see expressionist features in Marc’s artwork.
3. Have prepared images of animals that the students may be studying in HSIE or Science and Technology. Discuss
with the students how they feel about the animals in the images. Have the students select an animal photo that
they have strong feelings about. These feelings can be positive or negative. For example, a fear of snakes or a love
of cats.
4. To begin the drawing stage of the artwork, allow the students to use lead pencil to draw or trace the animal using
light, basic lines that construct the body and main features of the animal. Complete the drawing by using shapes
to fill the image with the background across the whole paper. Remind the students that the focus of this work is
the use of colour to convey their feelings, as artists, about this animal.
5. Discuss with the students colour combinations that convey feelings and emotions. Discuss the strength and value
of colours as a technique to match emotions. A strong bold colour will give a strong bold message, whereas a
muted, softer colour will convey softer feelings.
6. Paint the image using acrylic colours. Allow the students to mix colours experimentally and assign them an
emotional value or connection. Students should work from the background forward to the animal as this makes it
easier to join the sections of the composition by overlapping the paint. Ensure that all of the paper has been
painted as any white spaces will be stark and distracting.
7. Note the use of outlining of the background sections by Franz Marc. He outlines the colours to highlight the
colours. Encourage the students to follow this technique and to make a colour choice of their own for the outlines.

Assessment
Closely observes details of animals and creates artworks containing these details using drawing techniques such
as the use of construction lines and tracing.
Discusses the feelings associated with painting animals in an expressive style and how this can affect how they
might go about their own artmaking depending upon the artist’s relationship with the animal being painted.
Demonstrates this in the artwork created.
Identifies some of the feelings why Franz Marc has about the fox as depicted in his painting. Discusses with
reference to colour and position in the artwork.
Identifies elements of expressionism such as bold use of colour and free flowing brushstrokes as features of Franz
Marc’s artwork. References these techniques in own artworks.

Visit NSW Department of Education – Key learning areas – Early Stage 1 to Stage 3 
(https://education.nsw.gov.au/teaching-and-learning/curriculum/key-learning-areas/creative-arts/creative-arts-es1-3) for more
information.

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