Level 5/6
By the end of Year 6, students explain the ways that visual conventions, visual arts processes and materials are used in artworks they create and/or experience. They describe how artworks created across cultures, times, places and/or other contexts communicate ideas, perspectives and/or meaning. They describe how visual arts are used to continue and revitalise cultures.
Students develop and document ideas for their own artworks. They select and use visual conventions, visual arts processes and materials to create artworks that communicate ideas, perspectives and/or meaning. They present documentation and artworks that communicate ideas, perspectives or meaning in informal and/or formal settings.
By the end of Year 6, students explain how media languages and media technologies are used in media arts works they construct and/or experience. They describe how media arts works created across cultures, times, places and/or other contexts communicate ideas, perspectives and/or meaning. They describe how media arts are used to continue and revitalise cultures.
Students use media languages, and media technologies and production processes to construct representations in media arts works for specific purposes and audiences. They present their work in informal and/or formal settings using responsible media practice.
By the end of Level 6, students explain how ideas are expressed in artworks they make and view. They demonstrate the use of different techniques and processes in planning and making artworks .They use visual conventions and visual arts practices to express ideas, themes and concepts in their artworks.
Students describe the influences of artworks and practices places on their art making. They describe how artworks that they make and view can be displayed to express and enhance meaning.
Students describe and identify how ideas are expressed in artworks from different contemporary, historical and cultural contexts.
By the end of Level 6, students explain how viewpoints, ideas and stories are shaped and portrayed in media artworks they make, share and view.
Students use materials and media technologies to make media artworks for specific audiences and purposes, using intent, structure, setting and characters to communicate viewpoints and genre conventions. They explain the purposes of media artworks made in different cultures, times and places for different audiences.
Upper Primary is a time when students move from concrete thinking to more abstract thinking and become more aware of the world and those around them. They are encouraged to become active citizens of their class, school, community and the world. This is a time of great moral development which leads students to ask important questions about the world and their part in it. With increasing levels of independence students learn to research, organise and participate in activities which link them to the world outside the classroom. (Source: https://www.margmont.wa.edu.au/page/228/Upper-Primary)
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As children grow, their sense of themselves and their world expands. They begin to see themselves as members of larger communities. They are interested in, and like to speculate about, other times, places and societies. They begin to understand and appreciate different points of view, develop the ability to think in more abstract terms and undertake sustained activities for longer periods. The ability of students to work collaboratively and to develop their social skills should be fostered by activities that require group planning and decision making, and interaction with people inside and outside their classroom. They should be given increased responsibility for managing and organising activities, individually and in groups of varying sizes.
In exploring their physical, social, cultural and technological world, students should be encouraged to pose more focused questions and to carry out investigations in which they form predictions, hypotheses or conjectures, test them and reflect their findings. In late childhood, the investigation of their world should become more refined and include relationships, structures, systems and processes. This will include exploration of behaviours, values, language and social practices as well as physical phenomena and a wider range of technologies and forms of communication and representation. Students will experiment with them to investigate the advantages of different representational forms and technologies for different materials, purposes and situations.
The ability of students to draw on a wider range of sources of information will also be enhanced by introducing them to experiences beyond their immediate environment including those of people from other times, places and cultures. These learning experiences should emphasise and lead to an appreciation of both the commonality and diversity of human experience and concerns.
Students develop a sound grasp of written language and numeric conventions and use these in a range of different learning situations in purposeful ways to achieve outcomes across all learning areas. They reflect on their learning and work practices and consider ways in which these might be improved, modified or adapted for different situations. (Source: https://k10outline.scsa.wa.edu.au/home/principles/guiding-principles/phases-of-schooling)
Young in Art
Developmental look at child art
Humans of your school
Delaunay inspired artworks
Primary VCD Resources
Film Techniques
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Critical and Creative Thinking and Visual Arts sample learning activities, Levels 3–10
This resource is designed to illustrate how artworks can be used to teach both Visual Arts and Critical and Creative Thinking. A range of Critical and Creative Thinking and Visual Arts content descriptions from Levels 3 and 4 to Levels 9 and 10 are unpacked through sample learning activities based around particular artworks and artists. These activities could be used to support explicit teaching and/or consolidation of learning.
Critical and Creative Thinking and Visual Arts activities Levels 3–10
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More detail and student examples:
Discuss
Ettore Sottsass was an Italian architect who established the Memphis design group in 1981 in Milan. The Memphis design group rejected traditional approaches to design and challenged ideas of what was popular or in style at the time. They created furniture and other everyday objects that used unusual forms and shapes in their structure and functionality. Geometric forms and prints, block pop-art colours, use of laminate and a feeling of fun and quirkiness were typically found in the designs. Memphis soon developed a global cult following, and celebrities such as fashion designer Karl Lagerfeld and musician David Bowie acquired hundreds of pieces for their own collections.
Look at the related works and use the following discussion prompts to explore use of geometric shapes and colour with your class:
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What do you notice about these designs? Are these objects functional?
Can you see the figure hidden in Carlton Room Divider, 1981? -
The works use geometric forms and shapes in unexpected ways. Why do you think the designer chose to use these shapes? How does the shape of the object impact its function?
Consider the use of diagonal lines instead of traditional horizontal and vertical ones. -
Why did the artist choose these colours? What effect do they create?
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Do you think the works are furniture, sculpture or art? How can you tell if something is a piece of art, an everyday functional object or both?
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Which mathematical skills might you need to design objects like these?
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If you could reinvent an everyday object or piece of furniture from your house which would you choose? Explain why.
FOR THE CLASSROOM PRE-VISIT:
KEY IDEAS TO EXPLORE
• use of colour
• pattern and repetition
• sources of inspiration
• range of materials and techniques — sculpture, installation, painting, reflection as a way of patterning.
Ideas found in Kusama's work:
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Repetition
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Infinity
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Surfaces
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Colour
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Organic forms and objects — flowers and pumpkins
POST-VISIT:
Discuss the similarities and differences between the Aquilizans’ work and Kusama’s:
• accumulation
• experience within a created environment
• community involvement versus personal, private experience
• repetition and pattern
• creating social spaces and interactions.
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Research the work of other artists to explore how patterns are created/represented
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Investigate the Ishihara colour perception test installed in 3-D form inside a square-foot cube
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Explore reflected images — a veil of dots created by overhead transparency projections or wall projections using mirror reflections, a mirror ball creating constellations.
https://drive.google.com/file/d/19OXEosmu5ZbTVFceG0eJ1Santg2eUPvB/view?usp=drive_link
source: https://cdn.sanity.io/files/m2obzhc2/production/068283ea1440a9b77a430c00da52e1cdd0f68c20.pdf
What is sound design?
Sound design is an important part of any videogame. When we refer to sound design, we're talking about music and sound effects, and how they work together to enhance the gaming experience.
Music and sound effects contribute to the tone and feel of your game, and should aim to reflect elements of the game itself. If your game is all about adventure, the music should reflect that. If your game is retro-looking then maybe some 8 or 16-bit music might suit it? If your game is set during a certain time, you might create music that sounds like it is of that time.
Your sound design should complement something about your game. Perhaps the music can be fast-paced to match the fast-moving gameplay you’ve created, or eerie to match the dark setting of your monster-fighting game. It’s up to you, but consider how it can enhance the player experience.
Like graphics, sound design also communicates things about the game, from changes in state to overall mood. Sound effects and music can tell the player things they can’t see or provide additional prompts on success and failure, enhancing the experience and gameplay.
So, how do you want the player to feel at each stage or section? The music in the 'easy' level might conjure up images of freedom and expansiveness. In contrast, music for a boss battle might be scary and foreboding. Even if the player isn’t actively aware of it, the sound and music will have an impact, and thinking through what emotions you want players to feel will help you when it comes time to compose your soundscape.
This same idea applies to sound effects, which you can use to communicate changes in state and other things that are happening in the game.
Hear from sound designer / audio specialist Maize Wallin and their thoughts on designing sound for videogames.
What is stop motion animation?
Animation is the process where artificial movement is created by capturing a series of drawings or movements one by one. Small changes in the position of the drawing or object, recorded frame by frame, create the illusion of movement.
Types of stop motion animation:
If you are not sure what type of animation to make, here is a list to help you decide. Some types of animation are easier than others. Think about what materials you already have that will work for your animation.
Claymation - three-dimensional (3D) figures are made out of clay or plasticine and filmed within a 3D set or against a background.
Found objects - characters can be created out of found objects such as household utensils, bottle tops, pencils, Lego etc.
Cut-out - two-dimensional (flat) characters and worlds are made from cut-out paper, pictures, illustrations, found objects and silhouette figures.
Pixelation – people's bodies can be animated one frame at a time.