Independent Study Unit - Visual Arts Grades 11
During the ISU process, there are multiple items that need to be handed in, both over the course of the project, and on the final deadline (which for this semester will be due on Thursday, Jan. 23.) These are the items required for a Visual Arts ISU:
Over the course of the project:
1. ISU Concepts: This, as the title suggests, is a listing of concepts. Its purpose is to quickly sum up a list of possible ISU topics, and for grade 11, a minimum of five different topics are required. Thumbnails (small sketches) are highly recommended. (Meeting with the teacher will be ten times smoother with thumbnails.)
Teacher: “Begin by thinking of 5-7 ideas / concepts you’d like to explore for you ISU. Conduct research on each of these concepts, with a particular focus on artists who have done similar work before. Also begin thinking about how to “personalize” these concepts, so that they are meaningful to you. You will meet with the teacher to discuss your ideas, so be prepared to show thumbnail sketches and research images. It is important that you be able to justify why you want to do something, and how the work will be meaningful and original.”
2. Proposal: After a topic is chosen from the ISU Concepts, students are expected to expand on the topic. Though you may think “Oh, it’s only a proposal,” it’s a very important part of the ISU (and worth quite a bit of your final mark), so make sure to spend some good time on it. The Proposal must be written according to the following guidelines:
A. Concept
1. Rationale: What do you want to do for your ISU and why do you feel this is an important and worthwhile task to take on? What will this piece of work “add” to your portfolio?
2. Theme: What are some possible subjects/themes/concepts that you wish to address in your series of work? How did these subjects/themes/concepts come up in your “brainstorming” session? Which questions prompted you to come up with your idea?
3. Subject Matter: Explain how you will explore your subject/theme/concept in your series of work. What is the artistic problem/concerns you wish to address (content: ideas related to theme, sub-topics, different ways it can be explored. stylistic: elements/principles, composition, approaches [controlled vs. painterly, etc], and artists or artistic movements that will serve as inspiration. technical: media and techniques)
B. Media/Materials/Dimensions: What is the media (area of traditional or non-traditional arts) that you would like to work in? What are the materials that you require? Where can these materials be accessed and what are any additional costs required? What are the dimensions of your piece?
C. Timeline: How long will the work take to complete? When are your projected completion dates? Include a calendar outlining your specific daily goals.
1. Rationale: What do you want to do for your ISU and why do you feel this is an important and worthwhile task to take on? What will this piece of work “add” to your portfolio?
2. Theme: What are some possible subjects/themes/concepts that you wish to address in your series of work? How did these subjects/themes/concepts come up in your “brainstorming” session? Which questions prompted you to come up with your idea?
3. Subject Matter: Explain how you will explore your subject/theme/concept in your series of work. What is the artistic problem/concerns you wish to address (content: ideas related to theme, sub-topics, different ways it can be explored. stylistic: elements/principles, composition, approaches [controlled vs. painterly, etc], and artists or artistic movements that will serve as inspiration. technical: media and techniques)
B. Media/Materials/Dimensions: What is the media (area of traditional or non-traditional arts) that you would like to work in? What are the materials that you require? Where can these materials be accessed and what are any additional costs required? What are the dimensions of your piece?
C. Timeline: How long will the work take to complete? When are your projected completion dates? Include a calendar outlining your specific daily goals.
D. Research/Mentor:
Research: Include images with names of artists/explanations of work that you may use as inspiration. You must cite all sources, so include a bibliography.
Mentor: Who can serve as a mentor to you during this process?
E. Thumbnails: Include at least 10 thumbnail sketches to illustrate your ideas.
Research: Include images with names of artists/explanations of work that you may use as inspiration. You must cite all sources, so include a bibliography.
Mentor: Who can serve as a mentor to you during this process?
E. Thumbnails: Include at least 10 thumbnail sketches to illustrate your ideas.
3. ISU Process Check: This is the Visual Art’s equivalent of a Mid Point Proposal. Essentially it’s a short meeting with the teacher in the middle of the ISU timeline. The teacher will record what’s been done (or what hasn’t been done), give suggestions, and either tell you that “You’re too slow, you need learn to work faster,” or “This is good, you’re making progress. Keep it up.” Obviously, the latter feedback is preferable.
Teacher: “The unit will be marked in its preparatory stages as well as when the work the work is completed. If the work is being carried out in a way that cannot be evaluated, you must give detailed sketches and notes regarding its process. Select materials to suit style, technique and budget. Have all materials ready for use, work should not be delayed because of unavailable materials.”
On the final deadline:
*The funky thing with Visual Arts is that there’s no single final deadline. Each of the final deadline items have individual deadlines, which is nice because it helps you organize and see when each item is priority.
4. Final Product: This is the most important part of the ISU: the end product, the thing that’s been made as a result of the ISU learning process. The form of the final product will depend on the ISU topic.
5. Process Binder: The process binder is a comprehesive booklet of the ISU, summarizing the step-by-step process culminating to the final product. It usually includes the following, give or take a few headings: Concept (as seen in the ISU Proposal), Inspiration, Resources/Mentors, Thumbnails, Materials/Scale, Process, Final Product, Conclusion, and Works Cited. Sometimes creating the process binder can be as challenging as the actual ISU; it’s not something to be ignored until the last minute.
6. Formal Presentation: This is a 10-15 minute presentation, made in front of the teacher and class. The Visual Arts Formal Presentation is an overview of the ISU.
LEVEL 4 CHECKLIST!!
- The student shows good commitment in using his or her own artistic processes.
- The student generally demonstrates curiosity, self-motivation, initiative and a willingness to take informed risks.
- The student is generally receptive to art practices and artworks from various cultures, including his or her own.
- The student reflects critically and in depth on his or her artistic development and processes at different stages of his or her work.
- The student carries out an excellent evaluation of his or her work. This shows a considered appraisal of the quality of work produced and details of improvements that could be made.
- The student intentionally uses feedback in his or her artistic development, which shows an appropriate consideration of his or her artistic processes.
- The student is able to elaborate an idea, a theme or a personal interpretation to a point of realization. There is evidence of purposeful expression and effective communication of artistic intentions.
- Skills and techniques are applied at a high level of proficiency. The student shows an excellent ability to apply the artistic processes involved in creating art.
- The student is able to demonstrate excellent knowledge and understanding of the art form studied in relation to societal or cultural or historical or personal contexts.
- The student is able to demonstrate excellent knowledge and understanding of the elements of the art form studied.
- The student is able to communicate a well-developed critical understanding of the art form studied, in the context of his or her own work.
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