2. Art/ Design Practice - Concepts
• Creating two-dimensional drawings and prints, which are
informed by three-dimensional bricolage
• Observational drawing as a method of investigating/ exploring/
recording subject matter
• Constructing bricolage, which is informed by the various
elements of sculpture; Form, Material, Colour, Weight, Scale,
Space, Surface, Balance.
• Using found, mechanical objects to construct three- dimensional
bricolage
‘It is important that you reflect on your own learning in art…before
attempting to transfer, wholesale, practice…’ (Addison, pg. 63, 2000)
‘Using three-dimensional objects to inform two-dimensional design
has been a key aspect of the scheme so far’
(Extract from Reflective Journal, 02/02/2017
3. Scheme - Concepts
• Creating two-dimensional drawings
and prints, which are informed by
three-dimensional bricolage
• Observational drawing as a method of
investigating/ exploring/ recording
subject matter
• Line drawing as a form of mark-making
• Constructing bricolage, which is
informed by the various elements of
sculpture; Form, Material, Colour,
Weight, Scale, Space, Surface, Balance.
• Using mechanical objects to construct
three- dimensional bricolage
• Developing associative literacy links to
mechanical objects
‘It is your responsibility as a student teacher to ensure you understand the
rationales and constraints underpinning existing practice so that you can both
value and build upon its strengths, recognise its limitations and identify areas of
potential development’ (Addison, pg. 75, 2000)
4. Knowledge – Contemporary Printmakers
Monoprint by Linda Kerr Scott Drypoint by Jim Dine
‘Such artists have had such a
profound influence on aspects of
my practice; particularly technical
and conceptual aspects’
(Extract from Student Blog,
04/10/2016)
http://ciaranpower.blogspot.ie/?zx
=685abed7bde3d05e
‘Critical studies can be the vehicle
through which a web of ideas is
constructed, enabling pupils to
connect the seemingly disparate
approaches and dimensions of
their lessons; technical, aesthetic,
interpretative, social and personal’
(Addison, pg. 165, 2000)
5. Scheme – Knowledge – Historical Printmakers
‘Within art and design, ‘critical’ is often
appended with the words ‘contextual’ and
‘historical’, which has the had the effect of
encouraging some teachers to locate study
within a particular type of popular art
history.’ (Addison, pg. 165, 2000)
Drypoint Print by Whistler Drypoint by Picasso
‘Reviewing the work of Picasso and Whistler has had a huge impact on the students’
drawings…now thinking in terms of printmaking…re-working their drawings with biro for a single
tone line’
(Extract from Reflective Journal, 01/03/2017
‘It looks like it’s drawn
with biro!’
(Student comment recorded in
Reflective Journal, 15/02/2017)
6. Skills - Practical Application
Photographing/ Recording Making/ Creating (Drawing) Printmaking
It is important to recognise that making in art and design lessons is nearly always active in the sense that pupils are
engaged in doing something, whether self-generated or in response to direction‘ (Addison, pg.41, 2000)
7. Scheme – Skills – Practical Application
Constructing Making/ Creating (Drawing) Intervention – Close-Up Drawing Printmaking
‘I think it will benefit students to introduce them to close-up drawing…this might help them to concentrate more on the
bricolage, and not feel so overwhelmed’
(Extract from Reflective Journal, 18/01/2017
‘The viewfinder makes it easier to see all the lines!’ (Student comment recorded in Reflective Journal, 25/01/2017)
8. Attitude – Participating in C.O.P.
‘Members of a Community of Practice
constantly exchange experiences, stories
and information that will affect the
outlook or attitudes of other members’
(Extract from Student Blog, 09/09/2016)
http://ciaranpower.blogspot.ie/?zx=45d2
b44feebe1d4c
‘Communities of practice are formed by
people who engage in a process of
collective learning in a shared domain of
human endeavour.’
(Trayor, pg. 1, 2015)
9. Scheme - Attitude
Extract from Student Questionnaire,
when asked:
‘Why do you prefer to work in groups?’
‘If you get stuck, you’re not just stuck
with the person next to you. You’ve a
few other people to work with. Once I
got a little help from the lads, I was
grand’
‘The use of groups improves rapport
between students, giving all your classes
a more trusting and supportive
atmosphere. Social activity is so
universally enjoyed that group work
promotes a positive attitude to your
teaching, and to your subject’
(Petty, pg. 232, 2004)
10. Curriculum Design
Junior Cert Art, Craft and Design Aims and Objectives
• Use drawing for observation, recording and analysis, as a
means of thinking and for communication and expression
• Use the core two-dimensional process in making,
manipulating and developing images, using lettering with
image, in expressive and communicative modes
• Use three-dimensional processes of additive, subtractive
and constructional form-making in expressive and
functional modes
• Use an appropriate working vocabulary
• Appraise and evaluate his/ her work in progress and on
completion
• Develop an awareness of the historical, social and
economic role and value of art, craft and design and
aspects of contemporary culture and mass media
Aims and Objectives of Scheme
• Develop observational skills via the study of manufactured
car-parts
• Understand the process of drypoint print, through practical
and appreciative methods
• Investigate approaches of construction by experimenting/
exploring different process of making form
• Develop literacy skills by responding to an imaginative
descriptive passage and creating a spider graph of the kind of
language that the objects elicit
• Visually analyse a constructed form regarding material,
weight, balance, scale, composition and space
• Research and evaluate the work of an artist and use
contextual research to inform their own practice
11. Relevance of Scheme (Curriculum Plan)
Observational
Line Drawing
Drypoint
Printmaking
Bricolage
Junior Cert Curriculum Scheme Relevance to Curriculum
CORE OF THE SCHEME
12. Concepts
‘The starting (or subject matter) for each learning experience is crucial in
developing the student's capacity for focussed personal response. The
motivation should be visually oriented, and derive from the student's direct
experience of the natural, social or man-made environment.’
(Extract from J.C Art, Design and Craft Syllabus,
https://www.curriculumonline.ie/getmedia/f9a6f1ba-d2ae-4b16-a919-
f84509c988fa/JCSEC02_Art,_Craft,_Design_syllabus.pdf)
Language, particularly in the form of discussion, is central to developing an
understanding of the meaning- making process…In this way, language can be
used to help you and your pupils to make sense of the experiences that form the
basis of making…’
(Addison, pg. 166, 2000)
‘There was a heightened sense of excitement in class today; when students tried
to guess what the objects were…and then the “big reveal” of the car-parts…’
(Extract from Reflective Journal, 12/01/2017)
13. Knowledge
‘History of Art, Craft and Design should be introduced in relation to the learning experience, with examples
from past and present, worldwide as well as local Irish or European work, so as to acquaint the student with
adult and child art, craft and design from many cultures.’
(Extract from Junior Cert Art, Design and Craft Syllabus)
https://www.curriculumonline.ie/getmedia/f9a6f1ba-d2ae-4b16-a919-
f84509c988fa/JCSEC02_Art,_Craft,_Design_syllabus.pdf
‘Original critical and contextual examples were
simple ‘tag-ons’ at the end of the scheme…no
real consideration of how they can support
learning’
(Extract from Reflective Journal, 01/03/2017)
Drypoint Prints by Contemporary International Artist, Jim Dine
‘Reviewing the work of Picasso and Whistler
has had a huge impact on the students’
drawings…now thinking in terms of
printmaking…re-working their drawings with
biro for a single tone line’
(Extract from Reflective Journal, 01/03/2017
‘It is important that you develop a sense of
interrelatedness and interdependence of the
visual/ textual, theory/ practice continuums…’
(Addison, pg. 169, 2000)
14. Skills
‘To promote in the student a practical understanding of and competence in the principles and skills
underlying visual and constructional design and problem-solving’
(Extract from JC Art, Craft and Design Syllabus, https://www.curriculumonline.ie/getmedia/f9a6f1ba-
d2ae-4b16-a919-f84509c988fa/JCSEC02_Art,_Craft,_Design_syllabus.pdf)
‘I prefer doing work…Because I like to do things
with my hands.’
(Student Response in Questionnaire; Which part
of the lesson do you find most engaging? Why?)
Kolb’s Learning Cycle
15. Attitudes
‘To promote in the student an informed, inquiring and discriminating attitude to his or her environment
and to help the student relate to the world in visual, tactile and spatial terms’
(Extract from JC Art, Craft and Design Syllabus, https://www.curriculumonline.ie/getmedia/f9a6f1ba-d2ae-
4b16-a919-f84509c988fa/JCSEC02_Art,_Craft,_Design_syllabus.pdf)
‘The type of classroom climate generally
considered to best facilitate pupil learning
is one that is described as being
purposeful, task-orientated, relaxed,
warm, and supportive. Such a climate
facilitates learning by establishing and
maintaining positive attitudes and
motivation by pupils towards the lesson.’
(Kyriacou, pg. 68, 2007)
‘All students contributed and responded
notably well to questions throughout the
lesson.’
(Extract from Post-Lesson Evaluation,
08/02/2017)
