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/ programSDJHVWZRSDJHVWRÀYH
/ critcal and historical table pages six to eight
/ artmaking assessment: the hoodSDJHVQLQHWRHOHYHQ
/ student samples of the hoodSDJHVWZHOYHWRWKLUWHHQ
/ artmaking assessment: oscillations pages fourteen to sixteen
/ student samples of oscillationsSDJHVHYHQWHHQ
Unit of work SKIN AND BONES, parallel practices in architecture, fashion and art.
Outcomes Making: P1 P2 P3 P5 P6 Critical History: P7 P8 P9 P10
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Architecture & Design, Brooke Hodge.
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geared to concentrate on the Conceptual Framework and the Frames.
Forms Sculpture, Textiles, Architectural modelling and 4D.
Frames 6XEMHFWLYH6WUXFWXUDO&XOWXUDO3RVWPRGHUQ
Conceptual FW $UWLVW$UWZRUN:RUOG$XGLHQFH
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Artists: /XF\2UWD'RULV6DOFHGR&KULVWRDQG-HDQQH&ODXGH/HRQDUGR'D9LQFL&ODLUH+HDO\DQG6HDQ&RUGHLUR
Assessments 6WXGHQWVZLOOEHJLYHQWZRDUWPDNLQJDVVHVVPHQWWDVNVҊ7KH+RRGҋDQG´2VFLOODWLRQVҋ
Students will complete one art critical/ historical assessment, which comprises of Section 1 of a HSC exam with images from architects,
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Resources ArtmakingQHZVSDSHUZKLWHSDSHUFDUGERDUGFDOLFRULEERQPDVNLQJWDSHVWLFN\WDSHZLUHPHVKZDGGLQJKRWJOXHJXQIHOW
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Art Critical & Historical6WXGHQWWKHRU\KDQGERRNZLWKZRUNVKHHWV)LOPV:HEVLWHV,QWHUYLHZVPXOWLPHGLD3RZHU3RLQWV3OHDVH
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WEEK 2 / Identity
Integrated learning experiences, instruction and assessment A CH Evidence of learning Feedback
% 6WXGHQWVREVHUYHDQGHQJDJHZLWKPXOWLPHGLD3RZHUSRLQWÀOPVDQGDUWFULWLFDO Students discuss, Teacher marks this
UHYLHZVDERXW6DOFHGRDQG&KDOD\DQ 9 explore and then give a artmaking identity task as
% 6WXGHQWVDUHDVNHGWRXVHWKHLU9$3'WRGRFXPHQWLGHDVDQGPHPRULHVXQGHU written account of their part of the overall mark of
the concept of identity. 9 understanding of the artists The Hood assessment.
% Teacher models some techniques used to create models such as cutting, practice and the concept of
tearing, pleating, curling, twisting, scrunching, slashing, crumpling, shredding, 9 identity. Teacher also provides
SHUIRUDWLQJVDQGLQJEXUQLQJVRDNLQJDQGPRXOGLQJ verbal feedback on their
% 6WXGHQWVFUHDWHVNHWFKPRGHOVLQWHPSRUDU\PDWHULDOVRIDQREMHFWWKDW 9 Students are able to explore process and ability to
UHSUHVHQWVWKHLULGHQWLW\HJIDYRXULWHMHDQVEDJKDW the concept of identity by write about what they
% 6WXGHQWVPXVWGRFXPHQWWKHVNHWFKPRGHOLQWKHLU9$3' writing about a garment that understand from the Critical
expresses their self. & Historical lessons.
WEEK 3 / Shelter
Integrated learning experiences, instruction and assessment A CH Evidence of learning Feedback
% 6WXGHQWVREVHUYHDQGHQJDJHZLWKPXOWLPHGLD3RZHU3RLQWÀOPVDQGDUWFULWLFDO Students able to question Teacher marks this
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% 6WXGHQWVDUHDVNHGWRXVHWKHLU9$3'WRGRFXPHQWLGHDVDQGPHPRULHVXQGHU engaging with the images part of the overall mark of
the concept of shelter. 9 concerning shelter. The Hood assessment.
% Teacher models some techniques used to create models such as cutting,
tearing, pleating, curling, twisting, scrunching, slashing, crumpling, shredding, Students create 3D spaces Teacher also provides
SHUIRUDWLQJVDQGLQJEXUQLQJVRDNLQJDQGPRXOGLQJ inspired a place they have verbal feedback on their
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represents a place where they feel protected, at peace, secure, a memory of sense of shelter for them. ability to write about what
DKROLGD\KRXVHSDUNOLEUDU\ 9 they understand from
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photocopying. 9
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elements from the Jewish
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the traditional similarities and differences in
practice of the way each designer applies
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work.
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unruly. They are expanding and mutating, merging with one another and
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with dress making skills. Lift off.
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GEOMETRY
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pattern or a folding structure of triangles.
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PART B RESOLVED WORK
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articulate your ideas of identity, shelter and geometry.
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Authors:Vanessa Bellemore, Hannah Chapman & Michelle Kals Burwood Girls HS 08
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hood, shoulder hood and face hood. teamsugar.com
SKIN + BONES
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technical and material resolution.
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