1. 1. QUESTION

   Arts for education

   Here are some links which you have to use in assignment. make sure to add pictures of arts as well in assignments related to the topic.
   Roy, D.,Baker,W., & Hamilton, A. (2015) Teaching the arts: early childhood and primary education (2nd Ed.) South Melbourne, Cambridge University Press.
   https://online.cdu.edu.au/bbcswebdav/pid-3584940-dt-content-rid-19282034_2/xid-19282034_2

   Allen, W. (1989) Running on Rainbows – A Life be in it Art Program

   pfa

    

    

   As the visual arts is mostly dominated by looking and seeing (Roy et al, 2018) it stands to reason that perception is the dominant force, when we are not only creating art, but appreciating it. Perception is an important concept in creating art, as it relies on multifaceted skills to create the many features of it.

    

   Having knowledge of design elements such as primary, secondary and tertiary colours, and the ability to mix those colours to create tints, hues and shades equips the artists with a depth of skills to explore their creativity more deeply. If students want to create a moody cloudy day or a bright garden scene they will have the knowledge to apply mixing skills to extend their palette, to create colour value and high, low and mid key painting (Dinham, 2011). Furthermore, they will begin to see the emotive value of colour variations and how they can convey different moods and messages. When these skills are combined with the design principles of creating perceptual symphony such as balance, which is visually achieved through the composition of objects within a painting, they will also be able to create shade and depth around these objects to further  exemplify the perception of the gloomy day or the sun highlights and shades within the bright garden scene (Dinham, 2011).

   Moreover, developing the ability to contrast and emphasise the aforementioned principles, fosters a skill base from which an artist can effectively develop their creative ability and form a deeper appreciation of visual art. This is because they will have established the ability to see the world from a perspective other than their own, by learning to ‘read’ what an artist’s work tells them (Roy et al, 2018).

    

   In teaching students about perception, I will predominantly focus on the design elements of mixing colours to create tints, hues and shades. This will be the scaffold to the following lesson using the design principles of composition, colour, rhythm, proportion and scale to create an outback bush landscape. This is relevant to Year 5 Art curriculum descriptor. Develop and apply techniques and processes when making their artworks ACAVAM115 (ACARA).

    

   For assessment, students will be required to keep a journal where they will use the 5 R’s (Dinham, 2011) to reflect on their process and development of skills within each lesson. Their focus this lesson, will be on their colour mixing and the skill required to create them. This ties into the elaboration: Evaluating the characteristics of their work that are more successful, and work to improve their knowledge and skills from this reflection.  Furthermore, students will also have a rubric to follow based on the success criteria for the lesson.

    

   The lesson is underpinned by the pedagogy of a constructivist approach, where students are provided the opportunity to create their own understanding of what they are learning, by constructing internal connections from the ideas and skills being taught. It also embeds the principles of the creative process and the foundation of Torrance’s characteristics of creative ability, where students will be able to produce and explore a variety of ideas, to create something unique or put new flair on something that already exists (Edwards,2002; Killen, 2016).

   Additionally, creating an environment for students to feel safe and capable in their creativity is a challenge, particularly within the Year 5 cohort aged 9-10 years old. Whom according to Erikson’s Theory of Development are at a stage of growth where they highly value peer and teacher recognition, and are of a mindset of “I am what I will learn” or “I am what I can learn to make work.” Therefore, it is imperative that students are given realistic tasks that foster a successful experience to cement their feeling of worth and achievement and sense of identity (Gonzales De Hass & Willems, 2012).

    

    

    

    

    

    

    

    

   LESSON

    

   Learning Intention: Develop an understanding of how to mix four colours to create hues, tints and tones on a colour board.

    

   Success Criteria:

   • Apply understanding of colour mixing to create a wide variety of hues, tints and tones across the whole colour board.
   • Apply paintbrush techniques to select the right amount of paint and create clean and crisp lines.
   • Write in journal reflecting upon the 5 R’s.

   Use of brushes, and cleaning apparatus	I used my paint brush to mix and paint colours and hues. I occasionally was able to gather the right amount of paint and use the brush techniques to paint clean lines and deliver the right amount of paint into the square.	I was generally able to use my paintbrush carefully to gather the right amount of paint and mix colours to create and paint hues and tints within the square. I generally used the brush techniques to paint clean lines and deliver the right amount of paint within the square.	I was able to use my paintbrush effectively to consistently gather the right amount of paint, and thoroughly mix colours and tints.  I was able to consistently use brush techniques to paint clean lines and deliver the right amount of paint within the square.
   Recording of paint ratios for future reference	I recorded some ratios for future reference.	I recorded numerous ratios for future reference.	I recorded all ratios for future reference.
   Reflective Journal	I answered some of the 5R’s using short simple sentences, providing a small amount of depth to my reflection.	I answered most of the 5R’s using a combination of short sentences and paragraphs, providing a broad depth to my reflection.	I answered all of the 5R’s using mostly paragraphs and long sentences, providing substantial depth to my reflection

    

   EXTENSION OF SKILLS: Students will extend their skills by apply their mixing skills and knowledge of tints, hues and ratios from the colour board to paint an outback landscape painting.

   Furthermore, they will learn about composition of a landscape painting through dividing up the painting into thirds, or top, middle and bottom. They will also learn about colour perspective in those areas, using dark, middle and light tones with the dark at the back, middle tone in middle, light at bottom for the background (Hume, 2014).They will also learn about subject composition, by learning that small objects are usually at the top, medium sized in the middle and large at the front. Furthermore they will learn about shading and highlighting subject matter. 

   Additionally this lesson can be used as an assessment to create further lessons. If I can see they need work on shading, brushwork or composition. I can build on those skills in subsequent lessons and through different types of visual arts skills such as impressionism.

    

    

    

    

    

   References

    

   Dinham, J. (2014). Delivering Authentic Arts Education (2^nd Edition). Cengage Learning.

    

   Edwards, L. (2002). The creative arts: a process approach for teachers and children (3rd ed.). Prentice-Hall.

    

   Gonzalez-De Hass, A, R. & Willems, P, P. (2012). Theories in educational psychology: Concise guide to meaning and practice. R&L Education. ProQuest Ebook Central. https://ebookcentral.proquest.com/lib/cdu/detail.action?docID=1127723

    

   Hattie, J. (2011). Visible learning for teachers: Maximizing impact on learning. ProQuest Ebook Central.  https://ebookcentral.proquest.com

    

   Hetland, L., Winner, E., Veenema, S., Sheridan, K. (2013). Studio Thinking 2: the real benefits of visual arts education. Teachers College Press. ProQuest Ebook Central. http://ebookcentral.proquest.com/lib/cdu/detail

    

   Hume, H. D. (2014). The art teacher’s survival guide for secondary schools; grades 7-12. John Wiley and Sons. Retrieved from http://ebookcentral.proquest.com.

    

   Killen, R. (2016). Effective teaching strategies. Cengage Learning.

    

   Kolbe, U. (2004). Rapunzel’s Supermarket. All about young children and their art. Peppinot Press.

    

   Mayer, R. (1991). The artist’s handbook of materials and techniques. Faber & Faber.

    

   Pelo, A. (2007). The language of art. Inquiry based studio practices in early childhood settings. Red Leaf Press.

    

   Roy, D., Baker, W., Hamilton A. (2015). Teaching the arts early childhood and primary education. Cambridge University Press.

    

   Wright, S. (2003). The arts, young children and learning. Pearson Education.

    

    

   Materials:

    

   • A3 Visual Diary
   • HB Pencil
   • Ruler
   • x3 flat edged brushes
   • x1 cloth
   • Jar for water
   • x1 pallette or flat white plate
   • Black, white, yellow and red acrylic paint.

    

    

   To capture student’s attention, I will present a colour mixing tonal board, and an outback landscape painting created from the colours and hues from the board.

   This is so they can visualise what success in this lesson can look like, and what can be created with the colours in subsequent lessons. This gives a further sense of purpose to the skills they will learn, (Hattie, 2011).

    

   To create furth interest, I will elicit a discussion around what primary colours were needed to create the tonal board, and how the lighter and darker colours or hues and tints were made. I will also inform them of what the words hue and tint mean.

   Hopefully they will also notice the absence of blue to get green. To keep their interest I will tell them we will find out why this is when we create our board. This discussion will also be an informal assessment of their colour mixing knowledge.

    

   If they have not guessed, I will let students know they will be using only yellow, red, black and white for the board. This is underpinned by the teaching strategy from (Kolbe, 2004) who states that choice of materials is important but too much choice can be overwhelming, thus creativity often thrives on constraints as long as the children can use the materials in open ended ways. This will not be evident intially, but the skill of mixing colours itself in a constrained way, allows children’s focus to be limited is such a way that mastery can be obtained so they can then move to using the skills in a more open ended ways in subsequent lessons (Wright, 2003).

    

   Before painting, students will use their pencils, ruler and A3 visual diary, to draw a rectangle with a 5cm border and a table with eight squares vertically and ten horizontally. The border creates space to record their mixing ratios for each hue and tint. The squares are for painting their colours, tints and hues in. I will let student’s know that recording ratios is important, so they can refer back it and independently mix colours, when they paint their landscape.

    

   To begin painting I will emphasis the importance of creating a pallette that is functional and structured, so students end up with the desired colours, hues and tints and not a plate full of brown or black. They will do this by spacing out their paints. Firstly students will apply a fifty cent piece sized portion of red at the twelve o’clock on their pallete and the same of yellow at the six o’clock. Using only two colours at this stage, helps to maintain clarity of the task, and using the edge of the pallette for the main clours allows for mixing to occur in the inner region of the pallette only.

   Student’s will dip their flat edged brush into water, wipe off the excess and retrieve approximately a twenty cent sized portion of yellow paint and place it in the middle of the pallette.

    

   They will then wipe off excess paint and gently press the bristles of the flat edge brush down in the middle of the first square. This is so they can see how the brush slightly fans out, creating a straight line and spreads the paint evenly onto the paper. If the brush retains its shape in this process and doesn’t splay out like the corners of a broom, it is a sign of a good quality brush. I will then ask students to experiment with this painting technique starting at the top of their square and using downward strokes to create clean lines within their square (Mayer, 1991).

    

   Then without washing their brush, they will use the corner and retrieve a tiny dab of red, thoroughly blending it into the yellow creating a consistent yellow/red hue (Mayer, 1991). Then using the same brush technique paint the second square, and then write the amount of red paint they used above it.

   They will continue this process adding a dab of red to the yellow, and painting each hue in subsequent squares and recording ratios until they only have a solid red.

    

   As they are doing this, I will walk around the class, assessing how students are going, and capturing the opportunity ‘teach in the moment’, which students say is a more effective way for them to learn (Hetland, 2013).

    

   Once done, they will thoroughly wash their brush, wipe it clean and change their water, to avoid having any traces of red in the white, which they will use next, thus learning the value of caring for their tools to get the best out of their artwork (Pelo, 2007).

   After adding a fifty-cent sized portion of white at the nine o’clock edge of the pallete. They will then paint white under the yellow, orange, tangerine or yellow orange, red/orange and red squares.

   Following this, they will then add a ten cent size portion of white to the middle of plate, using the corner of the brush to add a tiny dab of yellow to it.

   I will explain that it may not look like it has changed but when painted under the white square you will see the yellow, this is called the light tone (Dinham, 2011; Pelo, 2007).

   They will then repeat this process, to achieve a yellow mid tone, painting it in the square underneath and again to create a darker tone.

   They will then record how much yellow was added each time to achieve each tone.

    

   Students will then wash and wipe brushes and apply the same principles and process to the orange, tangerine and red to create light, middle and dark tones. The potential to do these tones for each colour is there, but as time is limited, these 4 distinct tones will give student’s an understanding of how and what can be created.

   I will continue walking around the room aiding students using Hetland’s (2013) assessment and assisting techniques.

   Once finished, student’s will thoroughly wash brush, change their water and begin to create black tints. This is when they will see how green is made. They will need a twenty cent sized portion of yellow in the middle of plate, then using the corner of brush as before, add tiny dob of black and mix.

   I will ask students. “Why do you think we get a green colour when we mix yellow to the black?”  The reason is black always has a blue, green or purple base, therefore mixing yellow creates green, doing it this way also means we get a more natural green which suits the outback.

   Repeating same process as before, they will add a small dab of black to the yellow to get tones of dark green, eucalyptus and sage green. Recording amounts used.

   Next step, wash brushes and change water, as to paint a white square next to darkest green.Using corner of brush, they will add a small dob of white to the darkest green to get a lighter green, repeat process, painting each new shade along the squares to get lighter tones of green.

   Wash brush again, and paint another black square, then add twenty cent sized red blob of paint in middle of plate, from here they will use previous technique and add dob by dob of black paint to the red, painting a square each time with the new hue, until they get a very dark red.

   Wash brushes thoroughly, change water again and paint a white square next to dark red. They will then add small dabs of white to this dark red, each time painting the new shade in a square until they to obtain the hues of purple, mauve and lilac.

   They can then make greys. Starting with painting a black square and then a white one next to it. They will add a dab of black to the white, painting each new shade until they achieve a dark grey.

   Once they have finished this the lesson will come to a close. Student’s will need to clean brushes and jar. They will also need to complete their journal for homework which they will bring to next lesson for marking.

    

   Assessment:  This will consist of two mediums, firstly a Rubric and a Reflective Journal.

   The journal will have the 5 R’s (Dinham, 2014).

   Reporting: What did I do in lesson? What skills did I learn?

   Responding: What do I think about the lesson? Is there a way it could be improved? What have I  observed about my colour mixing skills from the start of the lesson to the end?

   Relating: How do you feel about this lesson?  What made me feel that way?

   Reasoning: What did I do to contribute to the outcome? Is there something I would do different next time? What do I need to practice?

   Reconstructing: What did I learn that will be helpful in future artworks

    

   The Rubric is based on the Learning Intention and Success criteria.

   Learning Intention: Develop an understanding of how to mix four colours to create hues, tints and tones on a colour board.

    

   Success Criteria:

   • Apply understanding of colour mixing to create a variety of hues, tints and tones across the whole colour board.
   • Apply paintbrush techniques to select the right amount of paint and create clean and crisp lines.
   • Write in journal reflecting upon the 5 R’s.

    

    

    

    

    

    

    

   	Developing	Consolidating	Accomplished
   Colour mixing	I was able to apply the technique of adding small amounts of colour to create a limited amount of distinct hues and tints.	I was able to apply the technique of adding small amounts of colour to create a reasonable amount of distinct hues and tints.	I was able to apply the technique of adding small amounts of colour to create distinct tones and hues within each square of the colour board.

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