Progression in Art

All-through Curriculum

Progression in Art

Art Curriculum Overview: Outline of taught and assessed content

The table below outlines the whole curriculum overview for this subject area, and shows the journey that students take throughout Ark Kings. Year Group Autumn 1 Autumn 2 Spring 1 Spring 2 Summer 1 Summer 2 Giuseppe Piet Mondrian Katsushika Kadinsky Mark making Georges Seurat Nursery Archimboldo Squares and Hokusai Circles tools Pointillism Food rectangles Hiroshige - Wave

Light Art Vincent Van Gogh Henri Rousseau Reception Diwali and Bonfire Flowers Jungle

Andy Jeff Koons Lucy McLauchlan Goldsworthy Eugène Séguy Romero Britto Childe Hassan Year 1 Shape, texture, Line, shape, Shape, texture, texture colour colour space pattern, space space Pablo Picasso Estha Mahlangu Ed Fairburn Andy Warhol Kathe Kollwitz (blue period) Michelle Stitzlein Year 2 Line, shape, Line, shape, colour Line, tone Shape, form, Shape, form pattern, colour texture texture Katsushika Kathryn Gerhardt Damian Hirst Antoni Gaudi Gustave Jackson Pollock / Hokusai Year 3 Line, shape, shape, texture, Form, colour, Caillebotte Mark Rothko Line, shape, texture, pattern pattern shape space colour pattern Architecture

Wayne Thiebaud (Leonardo Di Grayson Perry Paul Cezanne Jacob Lawrence L.S Lowry Year 4 Shape, colour, Vinci) Form, colour Form, colour colour Shape form, tone Shape, form, line,

space

Barbara Christopher Pablo Picasso Banksy Hepworth Richard Long Richard Wynne Kat Flynn Year 5 Shape, line, Space, line Shape, form, line, Shape, texture Nevinson Form, space colour space Shape, line

Faith Ringgold Leonid Afremov Barbara Kruger Georges Seurat Neil Shigley Christian Year 6 Shape, colour, Colour, form, Line, shape, Colour, space, Line, tone Boltanski space space, tone space. colour tone 2

Space, line, tone, colour

Cakes Large colour Still life Investigation exploration Pencil skills Introducing colour Watercolour Clyde Semler, through artists painting Matisse, (Watercolour) painting Year 7 Cezanne (Sarah Graham & Gordon Bennett kandinsky, Kate Osborne Looking at various Accuracy of line & Wayne Thiebauld) Contemporary Line, shape, tone Limited palette artists tone Line, Shape, Line, Colour, Colour Form Creepy Crawlies Book Illustration Creepy Crawlies View finder Prep studies Various artists Fruit faces Pencil, watercolour sections leading to large Creepy Crawlies Literacy within Art Arcimboldo Various sources – Investigating the scale painting Year 8 3D construction Typography, Line, colour, artists & detail through Carolee Clarke space, collage observational detailed work Line, colour, form juxtaposition Line, tone, colour, Line, tone, detail,

texture

Artist appreciation Exploring other artists work through Artist appreciation

experimental Preparatory Observational Observational Caricatures Portraits techniques studies leading to drawing drawing Da Vinci Various artists Various artists – a large scale Preparatory Further Year 9 Jeff Stahl Abstract Art, students guided interpretation studies leading to Experimental Line, tone contemporary, towards suitable from chosen artist large scale techniques and Line, tone, form artists and given Independent observational processes the option to practice, line, piece Printing, textiles research others tone, form, Independent practice, line, tone, form,

Artist appreciation Observational Sketchbook Final response Observational Students studies project Students working Artist appreciation studies Year 10 presented with a Prep work leading Artist research to strengths with Larger scale work Experimental variety of artists as to large scale piece Observations guidance. techniques a starting point (s) Annotations Students to select 3

and strongly appropriate media encouraged to to work with independently research other artists and revisit artists they have worked from previously to expand their portfolio

Various techniques GCSE coursework Completing all observations, artist GCSE coursework interpretations, Year 11 Presenting final GCSE Set Task GCSE Set Task N/A N/A annotations, work & findings sketchbook work ahead of presentation

Progression in Art

The threads of drawing, painting and analysing and evaluation have been chosen as they are the most pertinent threads that run through many, if not all, units and they are most important in order to develop proficient artists

Drawing Page 6

• produce creative work, exploring their ideas and recording their experiences • become proficient in drawing, painting, sculpture and other art, craft and design techniques • to use drawing, painting and sculpture to develop and share their ideas, experiences and imagination • to improve their mastery of art and design techniques, including drawing • to use a range of techniques to record their observations • to increase their proficiency in the handling of different materials

Painting Page 20

• produce creative work, exploring their ideas and recording their experiences • become proficient in drawing, painting, sculpture and other art, craft and design techniques • to use drawing, painting and sculpture to develop and share their ideas, experiences and imagination • to improve their mastery of art and design techniques, including painting • to use a range of techniques to record their observations • to increase their proficiency in the handling of different materials

Analysing & Evaluation Page 42

• learn about the work of a range of artists, craft makers and designers. • evaluate and analyse creative works using the language of art, craft and design. • analyse and evaluate their own work, and that of others, in order to strengthen the visual impact or applications of their work.

National Curriculum for Art & Design • produce creative work, exploring their ideas and recording their Progression map overview experiences • become proficient in drawing, painting, sculpture and other art, craft and design techniques • to use drawing, painting and sculpture to develop and share their ideas, Drawing experiences and imagination • to improve their mastery of art and design techniques, including drawing • to use a range of techniques to record their observations

ART DEPARTMENT • to increase their proficiency in the handling of different materials

fundamentally enables the visualisation and development of perceptions and ideas. The act of drawing is an integral means to translate, document, record and analyse the worlds we inhabit. The role of drawing in education remains critical, and not just to the creative disciplines in art

WHYDRAWING? and design for which it is foundational.

Conceptual and Beginning to consider

Accurate scaling and contextual

KS4 KS2 KS3 KS1 purpose for drawing appropriate methods EYFS for recording. understanding of Emphasis on basic Applying drawing drawing mark making Emphasis on developing the methods accurately Capturing form Focus on realism in application of line and using tone and to capture an object shape and other drawing Familiarity of directional shading drawing medium formal elements Promoting independent choices Emphasis on Beginning to identify More proficient and and exploration for independence and Representing objects and apply different expressive in drawing exploration both seen and tones. recording ideas imagined Taking creative risks Exploring creative Refne lines and Improving control of risks further shapes drawing medium

Progression Mapping: Art and Design - Drawing

Drawing has creative, expressive and educational value; it remains fundamental to translating and analysing the world. It is a central and pivotal activity to the work of many artists and designers – a touchstone and tool of creative exploration that informs visual discovery. It fundamentally enables the visualisation and development of perceptions and ideas. The act of drawing is an integral means to translate, document, record and analyse the worlds we inhabit. The role of drawing in education remains critical, and not just to the creative disciplines in art and design for which it is foundational.

Drawing: Knowledge Drawing: Skill Exemplar artwork Knows that pencils and pens can make marks on a surface.

Knows which pieces of equipment are appropriate for Can hold drawing medium drawing. (ELG) (pencil, chalk etc) with some control using a full grip. They understand that closing lines will make a shape. Can close lines using some control to create a shape. They identify different Nursery components of what they see Can represent human forms such as human anatomy (eyes, and features using simple arms etc) and know that they shapes from memory or seen. can reference them using drawing. Can make marks on different surfaces such as carboard, Know that some drawing paper etc apparatus may look different. E.g. pencil, pen, felt tips, pencil crayons.

Know that different types of Can hold drawing medium pencils or drawing utensils (pencil, chalk etc) with can make different marks on a increasing control, using a surface. consistent grip. (full grip of three fingered grip. Know which pieces of equipment are appropriate for drawing or making marks. Can create lines and shapes that more clearly reference a Can identify components of given shape or concept. Reception objects such as human anatomy (eyes, arms etc) and Using drawing apparatus, natural forms (leaves and they can create basic shapes trees) and represent these that represent objects. using appropriate shapes. Can begin to represent Know that some drawing different textures of an object utensils move / feel differently using pencils, chalk and to others. E.g. more efforts charcoal. required to make darker 7

marks than a black felt tip Can create lines that consist of pen. differing weights (thick and thin) by changing the Know that the more pressure apparatus or pressure. used with a pencil, the darker the tones will be. Begin to experiment with different tones based on the pressure used.

Know that a pencil grip can Hold the pencil close to the change how marks are applied point for control and detail. on a surface. E.g. held closely to the tip increased the Apply sketched lines to record amount of control you have. initial ideas.

Know that when you hold a Apply lines that follow basic pencil close to the tip, will contours and outlines of increase control and detail. shapes from observation.

Knows that appropriate Refines lines to make them simple shapes must be more accurate by erasing combined and used to create marks and perfecting lines. an overall object. Year 1 Can begin to apply different Know that refining lines tones (dark, mid and light) by means to make them more utilising a change in pressure. accurate. Line application on a surface Know that pencil marks can is somewhat influenced by the be lighter / darker depending marks made by the artist in on the pressure used to apply study and shapes bear a marks. resemblance.

Know that pencils have different grades. HB is used for writing and sketching.

Know that holding the pencil Hold the pencil further close to the point will help towards the end for loose control and detail, further sketching. towards the end creates loose

sketching. Sketching is more fluid and

expressive when using a grip Know that they can follow suitable for purpose. basic contours and outlines of

shapes from observation using Lines and contours are clearly Year 2 a guide with their hand or identifiable as observed viewfinder. objects.

Know that refining lines When lines are refined, they increases the accuracy of their will appear sharper (when drawing. working on realism or if

appropriate). Know that an eraser can be

used to refine lines but also to

lighten shaded areas. 8

Refine their drawing by using Know that tones can be an eraser accurately to remove blended together from light, inaccurate lines. mid to dark using a pencil. Can apply different tones Know that a pencil must be (dark, mid and light) by used at an angle when utilising a change in pressure. applying different tones. Begin to blend tones or know that directional shading gradients using appropriate is moving the pencil back and pressure. forth using contour lines (a shape’s outer line) as a guide. Can begin to follow the contour lines of a shape when Knows that a gradient is a shading (directional shading). gradual change from one element to another such as Can choose a position of the light to dark or from one pencil based on purpose. E.g. colour to another. angled to apply tone.

Know that when adding Lines and shapes can be different tones, it must be applied with increasing completed with a pencil at a accuracy, showing control. shallow angle – increases surface area of pencil point The application of tone shows and produces a softer finish. a clear contrast between dark, mid and light. Know that tone can create contrast in a drawing Using shading, their objects (difference between light and can begin to possess form. dark). Directional and contour shading aids this. Know that H pencils are hard and will produce light marks – The blending of tones is best for technical drawing. smooth without clear intervals of contrast. Know that B pencils are soft and will produce darker tones Composition is considered Year 3 – best used for tonal drawings with regards to placement of and shading. the object.

Know that directional shading Cross hatching shows areas of can influence a shape’s 3D dark and light areas of an appearance. object. Lines that are closer together and layered show Know that cross hatching and darker areas. hatching can be used to show areas of light and dark. Close When creating perspective and layered lines show darker drawings, a horizon line and areas of an object. vanishing points are used.

Know that refining lines, shapes, tonal gradients will help to create a more accurate and realistic outcome (where appropriate). 9

Know that mark making can be symbolic with meaning created by the artist or viewer. E.g. The thick, dark lines created in Esther Mahlangu’s work shows emphasis on shape.

Know that they can measure shapes from observation using a scaling method using their thumb and pencil.

Know that they can use the grid method of referencing to correctly scale an object.

To know that perspective allows artists to portray form in their artwork. Types of perspective:

• 1-point perspective • 2-point

Know that a horizon line runs horizontally.

Vanishing points are where lines meet.

There can be more than one vanishing point.

Know that orthogonal lines are the diagonal lines that can be drawn along receding parallel lines

Know which pencils they must Chooses correct apparatus for use based on their properties. purpose and outcome. E.g. If E.g. 2B pencil would be the artist in study creates a appropriate for mid to dark dark, melancholic mood with tones. high contrast, a range of pencils should be used. Know that texture can be manipulated via different Draw objects that are correctly methods and techniques such sized in comparison to others as layering, stippling and within an artwork (portray different types of mark distance). making. Create objects in the Know which marks are foreground that appear larger symbolic in their artwork and than those in the back and why based on their aesthetic. midground. E.g. Strident, sharp lines to show anger. When drawing, elements of the same object are draw Know that they can measure using an accurate proportion shapes from observation using e.g. the facial features. a scaling method using their thumb and pencil – relates Use different pressures to this method to scaling of relieve a drawing of graphite human figure – 7 ½ head to uncover lighter tones. lengths. Use an eraser to expose lighter To know that perspective tones to show texture in an Year 4 allows artists to portray form artwork. in their artwork. Types of perspective: Identify areas of shadow and light and blend tones • 1-point perspective accurately to create soft • 2-point perspective gradients. • 3-point perspective Follow the contours of a shape Know that scale is a to show its shape. Capture its comparison of size between form in an implied 3D space objects. using directional shading.

Know that scale will change Scaling is more accurate relative to distance and depth. throughout the artwork.

Know that proportion is Beginning to explore texture relative to the object it is part in an observational drawing of. using different techniques such as stippling. Know that when drawing from observation, they must Drawing can be sustained over consistently look at the subject a period of time. to gauge accurate shape, form, tone and proportion. Composition allows for a balanced drawing. Know that erasers can be used for different purposes e.g. Can blend tones using a soft putty erasers and soft easers and smooth gradient. Tones

can be used to lift off graphite are blended with little visual to reveal areas of light. appearance of intervals.

Know that erasers can be used expressively to create texture in a drawing.

Know that tone can be used to show implied form within a drawing using dark, mid and light tones to portray a light source.

Know that directional shading can be used to portray form and realism.

Begin to understand that the composition of an artwork can affect its focal point.

Know that lines can be used expressively to portray mood.

Know that sketched lines are A range of drawing apparatus used to map concepts on a can be chosen and applied surface. A loose grip can also based on their properties, suggest movement in an purpose or outcome. E.g. artwork. charcoal for its darker tones and tactile texture. Know that objects can be affected by many light sources. Clearly marks areas of light and shadow in an To know that 3D objects have observational drawing. a tactile texture and when this is captured in a drawing it is Light and shadow is captured called implied texture. in the correct areas with knowledge of light source. Know that scaling is applied Year 5 in art when something needs Shapes and lines are refined to be emphasised, or when accurately when appropriate through disproportionate size to the artwork. (Some marks the importance of the may not need refining as they represented is highlighted. are more abstract).

To know that perspective Shows a range of techniques to allows artists to portray form create texture e.g. stippling or in their artwork. There are 4 the use of an eraser types of perspective: (purposefully chosen).

• 1-point perspective Can consider perspective when • 2-point perspective creating a drawing (1 and 2- • 3-point perspective point perspective). Lines • Multi-point generally diminish at the perspective vanishing point. 12

Know that the horizon line is a Scaling is accurate using horizontal line that runs appropriate measuring across the paper or canvas to methods. represent the viewer's eye level, or outline where the sky Can sustain drawing over meets the ground. many sessions.

Know that the vanishing point Composition allows for a is where receding parallel balanced artwork. E.g. the lines diminish. focal point may not be centred but is in the foreground to Can choose drawing type or highlight its importance. medium by their properties based on the purpose of the Blend colours softly with no artwork. E.g. linked to a apparent definition between certain style or movement. values.

Can disregard the use certain media for their artwork based on their style properties. E.g. chalk would not be applicable for Renaissance artwork as contrast would be unable to replicate that of the era (difference between dark and light).

A more expressive range of Know that media for drawing can differ in purpose and can drawing apparatus can be chosen and applied based on reflect a certain style, their properties, purpose or movement or symbolic outcome. E.g. drawing with meaning: E.g. the thin string or natural objects. outlines of a David Hockney

drawing conveys a sense of simplicity of the human form. Can draw an object from different viewpoints using knowledge of perspective

Know that an artist’s Uses directional shading with technique of applying lines, confidence to create form in a shapes and tone directly drawing. affects the aesthetic of an Year 6 artwork. An expressive Clearly shows areas of light method of applying lines will and shadow in an create a sense of movement or observational drawing based an abstract work. on one or several light sources.

Know that the drawing Shapes and lines are refined medium can be used in independently using controlled different ways to inform mood lines. and can be used to reflect the subject matter – E.g. Independently applies a range expressive strokes can convey of techniques to create texture a sense of excitement in a e.g. use of an eraser, stippling, scene where there is a chase. cross-hatching, surface etc.

Know that depth in a drawing Can use an eraser for a range affects the scale of an object of effects and techniques, such and its clarity. as lifting tone, adding texture and creating negative space. Know that the manner in . which physical scale of an Scaling is accurate using artwork is explored by the appropriate methods. artist directly influences the viewing experience – E.g. the Can sustain drawing over large-scale drawings of many sessions, drawing for Anselm Kiefer will draw in the purpose (sketching, designing, viewer and experience the final artwork) artwork in a very kinetic manner. Can create contrast within an artwork with clear control To know that perspective will showing a smooth gradient affect the aesthetic of their where appropriate. artwork – thus creating more or less depth. May choose one Composition is well considered of the following. with a clear understanding of how to highlight multiple foci • 1-point perspective within an artwork. E.g. The • 2-point perspective focus points may all be in the • 3-point perspective foreground yet in different • Multi-point locations within the artwork. perspective

Know that different viewpoints and perspectives affects a shape’s appearance. E.g. profile of a face – some features may be unobservable.

Know that drawing type can be categorised by their: • properties • purpose • relation to artist (authenticity) • relation to context or movement • based on the purpose of the artwork.

Know that a pencil can be used in different ways to inform mood and can be used to reflect the subject matter.

Know that tone can affect the ability to create form

Know that tone can affect the mood of an artwork. Dark = melancholy

Know that the viewer can Can accurately map reflect and respond to a preliminary shapes as a guide drawing via knowledge of to show shape and form of an style, movement or symbolic observed or imagined object. meaning: E.g. the drawings of Line construction is used to Leonardo da Vinci informed inform composition. many of his creations and were not purely for aesthetic Refined and rendered 3D purposes. shapes are accurately drawn using a combination of Know the purpose and value of purposeful drawing techniques the following drawing and processes. E.g. techniques (own work or that construction of line / planes, of others). positioning / composition, capturing light source using - Line construction – tone. Construction lines are temporary linework Can observe and record small entities that can be areas in significant detail and used as references recreate refined line, accurate when creating and shape and appropriate positioning other contrasting tones. objects or linework. Apply a range of tones when - Composition – how observing a primary source. balance, contrast, Tones are accurate to the emphasis, movement, stimulus. Directional shading pattern, rhythm, follows the contours of the Year 7 unity/variety is shape to create form and showcased in an realism and replicates its artwork. texture.

- Foreshortening is a Able to eradicate pencil marks technique used in and blend a variety of tones perspective to create accurately and effectively the illusion of an using a range of methods and object receding pencils. E.g. blending stump. strongly into the distance or Apply a variety of mark background. making techniques that show a development of personal Know that the grid drawing response to what they observe technique is a tool for or feel about a given stimulus. constructing an image and its purpose is to achieve accurate Scaling of objects is accurate shape, scale and perspective. using appropriate methods most suited to the outcome. Know that the application of E.g. Architectural drawings realistic proportion and would be well suited to the perspective was developed grid method. during the Renaissance period. Can correct mistakes taken by creative risks and explore Know that 3-D shapes in an their artistic possibilities implied space are a through critical thinking. culmination of many drawing techniques: 15

- Construction lines Can sustain drawing over the - Perspective using course of a project, with a vanishing points variety of personal responses - Application of tones relevant to intentions. with reference to multiple light sources - Placement of highlights and shadows.

Know how to choose a method or style of drawing based on: • properties • purpose • relation to artist (authenticity) • relation to context or movement • based on the purpose of the artwork. • stimulus

Know that creative risks can be taken and that artwork can be subsequently modified via exploration.

Know that the viewer can Can effectively use a grid reflect and respond to a system to scale and map out drawing based on the the composition of an outline atmosphere created: E.g. irrelevant of the scale of the Renaissance artists used drawing. chiaroscuro to create atmosphere in their artwork. Apply an extensive range of tones to a drawing with no Knows which methods of intervals using controlled drawing to select for a given pencil marks that blend purpose: seamlessly.

- life - portrays all the Select appropriate mark expressions that are making and textural methods Year 8 viewed by the artist and apply these to a 2D piece - Perspective - artists to make it appear 3D. E.g. to create three- stippling dimensional images on a two-dimensional Can produce detailed and picture plane. It refined outline drawings with represents space, an understanding scaling that distance, volume, conveys accurate perspective light, surface planes, and depth. and scale, all viewed from a particular eye- Can extend ideas and sustain level. investigations by responding to new possibilities and Know that a grid measuring meanings via creative risks. system can support in making

an accurate drawing Make intuitive and analytical irrelevant of scale. judgements about ideas and experimentations. Know that a variety of tones can create dramatic impact Refine ideas with a high level (tenebrism). The term of artistic discrimination. chiaroscuro denotes the use light on dark background to Explore the potential of create contrast and form. materials and processes with deliberation over the course of Know how to select a project, with a variety of appropriate sources for personal responses relevant to drawing and evaluate the intentions. relevance of these within a project.

Know that symbolic codes and conventions are used to represent ideas, beliefs and values in different genres, styles and traditions. Understands that many of these are subjective.

Know that artists can exploit what they learn from creative risks. E.g. too much paint thinner or water could dilute a colour, yet give it a soft visual appearance.

Know that the viewer can Can select a variety of critique a drawing based on no strategies and methods for prior context and meaning is mapping and scaling based on subjective. purpose, and apply them successfully to create primary Knows which methods of drawings for an artwork. drawing to select for a given outcome, purpose or audience: Apply an extensive range of - illustrative: based on tones to an artwork with a purpose, style, size, high level of control using colour, character different media for drawing. - life - portrays all the expressions that are Can begin to make a drawing Year 9 viewed by the artist appear photo-realistic or - emotive - emotive hyper-realistic through the drawing emphasizes controlled application of: the exploration and construction of line / planes, expression of different positioning / composition, emotions, feelings, and capturing light source using moods tone / blending of tones / use of - analytic - undertaken materials and equipment. to divide observations into small parts for a Detailed use of tone and better perspective. layering shows an - Perspective - artists understanding of depth and to create three- perspective 17

dimensional images on a two-dimensional Exploit the characteristics of picture plane. It materials and processes, represents space, selecting, extending and distance, volume, interpreting their potential. light, surface planes, E.g. a pen ink drawing can be and scale, all viewed manipulated with water and from a particular eye- then in turn with water level. colour.

Know that primary and Can present a personal and secondary sources must be meaningful response and critically evaluated and must realise intentions with make connections between contextual knowledge. representations in different genres, styles and traditions. Can demonstrate an E.g. The representation in an understanding of visual abstract drawing of a butterfly language and symbolic may or may not be relevant to gestures through their explore for a “natural forms” drawings. project due to it ambiguity.

To know and recognise that the use of strategies and drawing methods to develop ideas are personal and original.

Can select a variety of Know that in art, there is an strategies and methods for argument for an against the mapping and scaling based on process of art critiquing and purpose, and apply them that many believe that the successfully to create primary role of a critic has been drawings for an artwork. replaced by marketing, which makes opinions disingenuous. Can use known methods to make a drawing appear Know that the purpose of increasingly photo-realistic or drawing was limited to hyper-realistic when mapping a concept rather than appropriate. These methods artwork in itself. During the may consist of: Year 10 Renaissance period, drawing - Accurate scaling became less utilitarian and - Appropriate mapping more valued as an art form. - Identification of light This coincided with the sources humanism movement in - Capturing form education. - Layering - Variety of tones Know that the process of - Controlled blending drawing is in itself an artform - Smooth gradients of and its outcome can be linked tone to performance art. - Appropriate use of mark making. - Creating depth from scale or tone - Detailed texture 18

Use a wide range of mark making and drawing mediums to portray expression, mood, and personal experience of the artist.

Present a personal and meaningful response that realises intentions and demonstrates a clear understanding of visual language.

Can select a variety of strategies and methods for Know that a creative risk is an mapping and scaling based on personal exploration of purpose, and apply them avenues within art that can successfully to create primary Year 11 defy the norms of a particular drawings for an artwork. medium, style, movement. Articulate the impact of known methods to make a drawing appear increasingly photo-realistic or hyper- realistic when appropriate.

Can take measured and conscious creative risks and explore ideas though a process of experimentation.

Further study and proficienc y

National Curriculum for Art & Design • produce creative work, exploring their ideas and recording their Progression map overview experiences • become proficient in drawing, painting, sculpture and other art, craft and design techniques • to use drawing, painting and sculpture to develop and share their ideas, Painting experiences and imagination • to improve their mastery of art and design techniques, including painting • to use a range of techniques to record their observations

ART DEPARTMENT • to increase their proficiency in the handling of different materials

? Painting is central to an artist’s ability to capture and understand the world. It is essential to fostering the creativity of children and nurturing emotional growth. Painting can aid the communication of emotions or feelings through visual language and the use of different colours

means they can express themselves without the use of words. It plays an integral role for many

PAINTING artists in exploration. It fundamentally enables the visualisation, development and presentation of ideas. It is a means to translate, document, record and analyse the worlds we

WHY experience.

Conceptual and Beginning to consider

Accurate scaling and contextual

KS2 KS3 KS4 KS1 purpose for painting appropriate methods EYFS for recording. understanding of Emphasis on basic Applying painting painting mark making Emphasis on developing the methods accurately Capturing form Focus on personal application of line and using tone and to capture an object shape and other style of painting Familiarity of directional shading painting medium formal elements Promoting and surfaces independent choices Emphasis on Beginning to identify More proficient and and exploration for independence and expressive in and apply different painting exploration Representing objects tones. recording ideas both seen and Exploring creative imagined via the use Taking creative risks of painting meduim Refne lines and Improving control of risks further shapes painting medium

Progression Mapping: Art and Design – Painting

Painting is central to an artist’s ability to capture and understand the world. It is essential to fostering the creativity of children and nurturing emotional growth. Painting can aid the communication of emotions or feelings through visual language and the use of different colours means they can express themselves without the use of words. It plays an integral role for many artists in exploration. It fundamentally enables the visualisation, development and presentation of ideas. It is utilised to translate, document, record and analyse the worlds we experience.

Knowledge Skill Exemplar Know that paintbrushes can make marks on a surface when combined with paint.

Know that paintbrushes, sponges, sticks etc can be used to make marks on a Can hold painting medium surface. (brush, sponge etc) with some control using full grip. Know that by making marks on pages they can Can move paint on a reference a given shape or surface using brush strokes concept. (multi-directional)

Know that paint can be Can close lines, using some moved on a surface. control, to create a shape.

Selects appropriate Can represent human forms Nursery resources for purpose (ELG) and features using simple E.g. paintbrush, sponge or shapes from memory or palette knife. seen.

They identify different Can make marks on components of what they different surfaces such as see such as human anatomy carboard, paper etc. (eyes, arms etc) and know that they can reference Explores colour and how them using painting. colours can be changed (ELG) via mixing of paint Know that some paints look different to others. E.g. some may be thick.

Identify the colours to be used in their artwork.

Know that paintbrushes can make marks on a surface when combined with paint using brush Can hold painting medium strokes. (paintbrush, sponge brush

etc) with increasing control, Know that a brush stroke is using a consistent full grip a mark made by a or three-fingered grip . paintbrush.

Know which pieces of Can create lines and shapes equipment are appropriate that more clearly reference for painting. a given shape or concept.

Can identify components of Using painting apparatus, objects such as human they can create basic shapes anatomy (eyes, arms etc) that represent objects from and natural forms (leaves observation or imagination. and trees) and represent

Reception these using appropriate Can begin to represent shapes. textures of an object using

different brush strokes. E.g. Know that some paints sharp strokes for hair. move differently to others.

E.g. some may be thick and Can create lines that need more effort to move. consist of differing weights Some may be drier etc. (thick and thin) by

changing the position of the Know that when paint is paintbrush or selecting mixed, it will change its appropriate apparatus. colour.

Experiments with different Choose colours to be used in colours based on knowledge an artwork. of mixing.

Know that some colours can be “light” or “bright” or “dark”.

Hold the paintbrush close to Know that paintbrushes the tip for control and can differ in appearance – detail. know the name of:

- Flat brush Hold the paintbrush further - Rounded brush towards the end for loose - Angled brush mark making.

Year 1 Can apply loose lines to Knows that a paintbrush record initial ideas. grip can change how marks

are applied on a surface Apply lines that follow basic

contours and outlines of Know that if the paintbrush shapes from observation is held more tightly, (primary or secondary improved control will be source). achieved.

Knows that appropriate Refines lines to make them simple shapes must be more accurate by using combined and used to controlled application. create an overall object. Can begin to mix and then Knows that refining lines apply different tones and means to make them more values (dark, mid and light) accurate. by adding white or black to a colour.

Know the names of Paint application on a different types of paint such surface is somewhat as watercolour and acrylic influenced by the strokes of paint based on its aesthetic the artist in study and qualities e.g watercolours bears a resemblance. are “watery” and “thin”. Acrylic paint is “thick”.

Knows that when adding white to a colour, its value becomes lighter (known as tint)

Knows that when adding black (or a darker colour such as purple) makes its colour or value darker. This is known as shade.

Reference light, mid and dark values of colour

Knows that red, blue and yellow are primary colours.

Know that paintbrushes Brush strokes are more can differ in appearance fluid and expressive when and purpose: creating sketched lines. - Flat brush – Grip towards the end. straight edges or blocked strokes Lines and contours are - Rounded brush – clearly identifiable as can be used for lots observed objects. of different styles of painting Begin to blend tones or gradients using appropriate Year 2 pressure when using a Know that using different paintbrush. (Light pressure brushes will create a blends paint) different aesthetic. E.g. a large flat brush will create When lines are refined, wide sharp lines. they will appear sharper (when working on realism Know that holding the or if appropriate). paintbrush close to the point will help control and Can apply different tones detail, further towards the (dark, mid and light) by 23 end creates loose brush utilising the shade and tint strokes. technique.

Know that directional Can begin to follow the strokes are created moving contour lines of a shape, the paintbrush back and using directional brush forth using contour lines strokes, when adding tone for form. Know that they can follow basic contours and outlines Can begin to apply paint to of shapes from observation a surface referencing the using a guide with their strokes of the artist in hand or viewfinder. study.

Know that refining lines increases the accuracy of their painting (when working on realism).

Know that paints have different properties, for example: - Watercolour = translucent - Acrylic = opaque

Know that red, blue and yellow are primary colours and orange, green and purple are secondary colours.

Knows that blue, green and purple belong to the cool colour family. Red, orange and yellow belong to the warm colour family.

Knows that when adding a darker colour such as purple makes its colour or value darker. This is known as shade. Colours can also be be tinted with other colours (when red is added to white, it has a red tint creating pink).

Knows that a gradient is a gradual change from one element to another such as light to dark or from one colour to another.

When using colours (light, mid and dark) a gradient is created. Knows where colours are placed to create a gradient.

Know that tones can be blended together from light, mid to dark using a paintbrush.

Know that paintbrushes Chooses correct paintbrush can differ in appearance grip for purpose. E.g. and purpose: holding the paintbrush with three-finger grip close to - Flat brush – aren't the tip to add detail. as versatile as round brushes but Lines and shapes can be they're useful for applied with increasing blending and accuracy, showing control creating washes. using appropriate painting medium. - Rounded brush – are the most Using directional brush versatile and widely strokes, their objects can used brushes. Their begin to possess form. shape makes them suitable for small The application of tone details and delicate shows a clear contrast lines. between dark, mid and light.

Year 3 Know that when using a The blending of tones is paintbrush at a shallow attempted with some angle increases surface area intervals of contrast. which can be used for colour washes. Colours are blended with some visual appearance of Know that directional intervals. brushstrokes can influence a shape’s 3D appearance. Composition is considered with regards to placement Know that marks using of the object. paint can be symbolic with meaning created by the When creating perspective artist or viewer. E.g. The in a painting, a horizon line abstract artwork of Jackson and vanishing points are Pollock may convey a used. meaning of a greater being or merely invasion of colour. Paint application on a surface shows a clear Know that paint can be process that resembles that layered to add texture. of the artist in study. E.g. The work of Jackson Pollock

Know that they can and the layering of paint measure shapes from strokes and splatters. observation using a scaling method using their thumb and pencil

Know that they can use the grid method of referencing to correctly scale an object.

To know that perspective allows artists to portray form in their artwork. Types of perspective:

• 1-point perspective • 2-point

Know that a horizon line runs horizontally.

Vanishing points are where lines meet.

There can be more than one vanishing point.

Know that paints have different properties and can be more suited for certain projects, for example: - Watercolour = translucent, soft images. - Oil paint = thick and textured

Begin to suggest why certain paints are more appropriate for a project. E.g. Watercolour for still life as requires less equipment and can be utilised quickly. It also dries quickly.

Know that red, blue and yellow are primary colours and orange, green and purple are secondary colours. Can mix primary colours confidently to create secondary colours.

Knows that blue, green and purple belong to the cool 26

colour family and create a sad, calming or cold feeling. Red, yellow and orange belong to the warm colour family and create a feeling of anger, warm or energy.

Using knowledge of shade and tint, knows how to mix variations of dark, mid and light of a certain colour by adding the correct ratio of white or black.

Knows that colours can be blended using a gradient.

Know that tone can create contrast in a painting (difference between light and dark)

Know that paintbrushes Chooses correct paintbrush can differ in appearance grip for purpose and and purpose and can reflect outcome. E.g. If the artist’s a certain style of painting: work seems more fluid then holding the paintbrush Paintings showing realism towards the end will aid like Renaissance painters this style. may have used the following: Paint objects that are correctly sized in comparison to others within - Detail round an artwork (distance) brushes have short hairs. They are a Create objects in the good choice for foreground that appear working on details larger than those in the and making short back and midground. Year 4 strokes to help When painting, elements of create realism. the same object are drawn - Flat square end using an accurate brushes are good for proportion e.g. the facial bold strokes, features. washes and filling wide spaces. The Identify areas of shadow and light and blend tones can also be used for accurately to create soft fine lines, straight gradients. edges and stripes. - Filbert flat and Follow the contours of a oval-shaped end shape using directional brushes work well brush strokes to show its for blending and form with consideration of light source. creating soft-

rounded edges like Capture its form in an flower petals. implied 3D space.

Know which paintbrushes Scaling is more accurate they must use based on throughout the artwork. their properties. Beginning to explore Directional brush strokes texture in an artwork using can be used to portray form. different techniques such as layering, differing brush Know that texture can be strokes or varying manipulated via different equipment such as a sponge methods and techniques or palette knife. such as layering, differing brush strokes or varying Painting can be sustained equipment such as a sponge over a period of time. or palette knife. Composition is considered Know which marks are with regards to placement symbolic in their artwork of the object with an and why based on their understanding of how to aesthetic. highlight the focal point.

Know that they can measure shapes from Can blend colours using a observation using a scaling soft and smooth gradient. method using their thumb Colours are blended with and pencil – relates this little visual appearance of method to scaling of human intervals. figure – 7 ½ head lengths.

To know that perspective allows artists to portray form in their artwork. Types of perspective:

• 1-point perspective • 2-point perspective • 3-point perspective

Know that scale is a comparison of size between objects

Know that scale will change relative to distance and depth.

Know that when painting from observation, they must consistently look at the subject to gauge accurate shape, form, tone and proportion.

Know that proportion is relative to the object it is part of.

Can compare the different properties of paint that are similar in appearance, for example: - Ink = like watercolour in consistency – however rich and glossy as opposed to matte.

Can choose certain paints for purpose E.g. Oil paints to create a tactile texture when focusing on the artist Wayne Thiebaud.

Can suggest drawbacks of using certain paints. E.g. Oil paints take a long time to dry.

Know that red, blue and yellow are primary colours and orange, green and purple are secondary colours. Can mix primary colours confidently to create secondary colours. Can create tertiary colours from primary and secondary colours. E.g. blue/purple

Know that complementary colours are opposite on the colour wheel.

Using knowledge of shade and tint, knows how to mix variations of dark, mid and light of a certain colour and know that to blend them softly, they must use minimal pressure back and forth using an appropriate brush.

Know that tone can be used to show implied form within a painting using dark, mid

and light tones to portray a light source.

Know that paintbrushes can differ in appearance A range of painting and purpose and can reflect apparatus can be chosen a certain style or and applied based on their movement: properties, purpose or outcome. E.g. a palette E.g. filbert brushes used in knife is used to create thick a Monet painting to block in tactile texture. foliage. Clearly marks areas of light and shadow in an - Round or pointed observational painting. tip brushes are good for sketching, Light and shadow is outlining, detailed captured in the correct work and filling in areas with knowledge of small areas. light source. - Flat square end Shapes and lines are brushes are good for refined accurately when bold strokes, appropriate to the artwork. washes and filling (Some brush strokes may wide spaces. The not need refining as they can also be used for are more abstract). fine lines, straight Year 5 edges and stripes. Shows a range of techniques to create texture - Filbert flat and e.g. chosen surface, how the oval-shaped end surface is primed, the brushes work well medium or equipment used. for blending and creating soft- Can consider perspective rounded edges like when creating a painting (1 and 2-point perspective). flower petals. Lines diminish at the - Fan flat brushes vanishing point. have hairs that spread. They are Scaling is accurate using good for smoothing, appropriate measuring blending and methods. feathering. They are Can sustain painting over effective for textural many sessions. effects, such as for clouds and leaves on Composition allows for a trees. balanced artwork. E.g. the - Detail round focal point may not be brushes have short centred but is in the hairs. They are a foreground to highlight its importance. good choice for

working on details Blend colours softly with no and making short apparent definition between strokes. values.

Know that sketched paint strokes are used to map concepts on a surface. A loose grip can also suggest movement in an artwork.

Know that texture can be applied to a surface prior to painting via the use of gesso, grout, sand etc to enhance the mood of an artwork.

To know that 3D objects have a tactile texture and when this is captured in a painting it is called an implied texture.

Know that scaling is applied in art when something needs to be emphasised, or when through disproportionate size the importance of the represented is highlighted.

To know that perspective allows artists to portray form in their artwork. There are 4 types of perspective:

• 1-point perspective • 2-point perspective • 3-point perspective • Multi-point perspective

Know that the horizon line is a horizontal line that runs across the paper or canvas to represent the viewer's eye level, or outline where the sky meets the ground.

Know that the vanishing point is where receding parallel lines diminish.

Can choose paint type by their properties based on the purpose of the artwork. E.g. linked to a certain style or movement.

- Acrylic paint with thinning solution of create abstract artwork similar to that of Barnett Newman.

Can disregard the use certain paints for their artwork based on their style properties. E.g. watercolour would not be applicable for Renaissance artwork as contrast would be unable to replicate that of the era (difference between dark and light).

Know that when complementary colours are mixed, they will become muted. This can also be affected by the ratio of one colour to the other.

Know that analogous colours are those colours next to each other on the colour wheel.

Using knowledge of shade and tint, know how to mix variations of dark, mid and light of a certain colour to replicate those used in their artist study.

Know that objects can be affected by many light sources and can create many shadows (dark) and highlights (light).

Know that paintbrushes A more expressive range of can differ in appearance painting apparatus can be Year 6 and purpose and can reflect chosen and applied based on their properties, purpose a certain style, movement or outcome. E.g. painting or symbolic meaning:

with string or natural - Round or pointed objects. tip brushes are good Can paint an object from for sketching, different viewpoints using outlining, detailed knowledge of perspective. work and filling in small areas. Uses directional brush Conveys rhythm strokes with confidence to and flow in an create form in a painting. artwork. Clearly shows areas of light

and shadow in an - Flat square end observational painting brushes are good for based on one or several bold strokes, light sources. washes and filling wide spaces. They Shapes and lines are refined independently using can also be used for controlled strokes. fine lines, straight

edges and stripes. Independently applies a Can be used to range of techniques to create strident lines create texture e.g. chosen that conveys anger. surface such as wood, canvas or paper, how the surface is primed using gesso, and the medium or - Filbert flat and equipment used such as a oval-shaped end palette knife etc. brushes work well . for blending and Scaling is accurate using creating soft- appropriate methods. rounded edges like flower petals. Can sustain painting over many sessions, drawing and Similar to a painting for purpose rounded tip. (sketching, designing, final artwork) - Fan flat brushes have hairs that Composition is well spread. They are considered with a clear good for smoothing, understanding of how to highlight multiple foci blending and within an artwork. E.g. The feathering. They are focus points may all be in effective for textural the foreground yet in effects, such as for different locations within clouds and leaves on the artwork. trees. Its quality Can create contrast within aids meaning an artwork with clear through its tactile control showing a smooth texture. gradient where appropriate.

- Angular flat Can mix black using brushes have different variations of angled hairs. They primary colours.

are good for curved strokes and filling corners. Conveys rhythm and flow in an artwork.

- Detail round brushes have short hairs. They are a good choice for working on details and making short strokes.

Know that an artist’s technique of applying paint directly affects the aesthetic of an artwork. An expressive method of applying paint will create a sense of movement or an abstract work.

Know that the paintbrush can be used in different ways to inform mood and can be used to reflect the subject matter – E.g. expressive strokes can convey a sense of excitement.

Know that depth in a painting affects the scale of an object and its clarity.

Know that the manner in which physical scale of an artwork is explored by the artist directly influences the viewing experience – E.g. the large scale sculptures of Anish Kapoor engulf the viewer, becoming part of the artwork.

To know that perspective will affect the aesthetic of their artwork – thus creating more or less depth.

May choose one of the following.

• 1-point perspective • 2-point perspective • 3-point perspective • Multi-point perspective

Know that different viewpoints and perspectives affects a shape’s appearance. E.g. profile of a face – some features may be unobservable.

Can choose paint type by their: • properties • purpose • relation to artist (authenticity) • relation to context or movement • based on the purpose of the artwork. E.g. If creating artwork of aboriginal influence, the artist may choose a dry paint that has muted tones.

Can use knowledge of mixing colours to create comparable values to show an influence of an artist, style or movement.

Can correctly select appropriate brushes to blend colours on a surface - must be soft bristles.

Know that analogous colours are those colours next to each other on the colour wheel.

Knows that by mixing different variations of primary colours, different hues of black can be created.

Know that tone can affect the ability to create form

Know that tone can affect the mood of an artwork. Dark = melancholy

Know the purpose and Can accurately map value of the following preliminary shapes as a painting techniques (own guide to show shape and work or that of others). form of an observed or imagined object. Line - Flat wash – used construction is used to for background and inform composition. bock colour Refined and rendered 3D - Wet on dry – used shapes are accurately when layering is drawn and subsequently favourable painted using a combination of purposeful - Wet on wet – paint drawing and painting is easily moved techniques and processes. across a surface E.g. construction of line / planes, positioning / - Colour gradients composition, capturing light – colours blend from source using tone. one to another Can observe and record - Dry brush – adds small areas in significant texture and brush detail and recreate refined marks line, accurate shape and Year 7 appropriate contrasting - Resist – paint tones. resists lines when using wax or spirits Apply a range of tones when observing a primary - Lifting – removing source. Tones are accurate of paint using to the stimulus. Directional paintbrush or other brush strokes follow the material contours of the shape to create form and realism and Know that when painting replicates its texture. quickly and from observation e.g. still life of Able to eradicate brush figure work, a loose grip can marks and blend a variety be used with sketched lines of tones accurately and to gain preliminary shapes. effectively using a range of methods and paintbrushes. Know that the grid drawing E.g. soft blending brush, technique is a tool for finger, paper towel, palette constructing an image prior knife. to adding paint and its purpose is to achieve Apply a variety of mark accurate shape, scale and making techniques that perspective. show a development of personal response to what

Know that the application they observe or feel about a of realistic proportion and given stimulus. perspective was developed during the Renaissance Scaling of objects is period. Previous to this, accurate using appropriate painting lacked realistic methods most suited to the form. outcome. E.g. Architectural paintings would be well Know that 3-D shapes in an suited to the grid method. implied space are a culmination of many Can correct mistakes taken techniques: by creative risks and - Construction lines explore their artistic - Perspective using possibilities through critical vanishing points thinking. - Application of tones with reference to Can sustain a painting over multiple light the course of a project, with sources a variety of personal - Placement of responses relevant to highlights and intentions. shadows.

Know how to choose a method or style of painting based on: • properties • purpose • relation to artist (authenticity) • relation to context or movement • based on the purpose of the artwork. • stimulus

Know that creative risks can be taken and that artwork can be subsequently modified via exploration.

Know that the viewer can reflect and respond to a painting based on the Can effectively use a grid atmosphere created: E.g. system to scale and map out Renaissance artists used the composition of an chiaroscuro to create outline irrelevant of the atmosphere in their scale of the drawing and artwork. painting.

Knows which methods of Apply an extensive range of drawing and painting to tones to a painting with no select for a given purpose: intervals using controlled

brush strokes that blend - life - portrays all seamlessly irrelevant of the the expressions that scale of the drawing and are viewed by the painting. artist

- Perspective - Select appropriate mark artists to create making and textural three-dimensional methods and apply these to images on a two- a 2D piece to make it dimensional picture appear 3D. E.g. stippling plane. It represents

space, distance, Can produce detailed and volume, light, refined paintings with an surface planes, and understanding of scaling scale, all viewed that conveys accurate from a particular perspective and depth. E.g. Year 8 eye-level. the colour will diminish or

desaturate in the Know that a grid measuring background. system can support in

making an accurate Can extend ideas and painting irrelevant of scale. sustain investigations by

responding to new Know how to select possibilities and meanings appropriate sources for via creative risks. painting and evaluate the

relevance of these within a Make intuitive and project. analytical judgements

about ideas and Know that symbolic codes experimentations. and conventions are used to

represent ideas, beliefs and Refine ideas with a high values in different genres, level of artistic styles and traditions. discrimination. Understands that many of

these are subjective. Explore the potential of

materials and processes Know that artists can with deliberation over the exploit what they learn course of a project, with a from creative risks. E.g. too variety of personal much paint thinner or responses relevant to water could dilute a colour, intentions. yet give it a soft visual appearance.

Know that a variety of tones can create dramatic impact (tenebrism). The term chiaroscuro denotes the use light on dark background to create contrast and form.

Can select a variety of Know that the viewer can strategies and methods for critique a painting based on mapping and scaling based no prior context and on purpose, and apply them meaning is subjective. successfully to create

primary sketched brush Knows which methods of strokes for an artwork. painting to select for a

given outcome, purpose or Apply an extensive range of audience: tones to an artwork with a - illustrative: based high level of control using on purpose, style, different mediums for size, colour, painting using extensive character – bold knowledge of shade and appearance tint. - life - portrays all

the expressions that Can begin to make a are viewed by the painting appear more artist photo-realistic or hyper- - emotive - emotive realistic through the painting controlled application of: emphasizes the construction of line / planes, exploration and positioning / composition, expression of capturing light source using different emotions, Year 9 tone / blending of tones / feelings, and moods use of materials and – mainly portrayed equipment. through mark

making, brush Detailed use of tone and strokes and tonal layering shows an values. understanding of depth and - analytic - perspective undertaken to

divide observations Exploit the characteristics into small parts for of materials and processes, a better perspective. selecting, extending and - Perspective - interpreting their potential. artists to create E.g. using acrylic paint and three-dimensional sand combined with a heat images on a two- gun to create a tactile dimensional picture texture. plane. It represents

space, distance, Can present a personal and volume, light, meaningful response and surface planes, and realise intentions with scale, all viewed contextual knowledge. from a particular

eye-level. Can demonstrate an

understanding of visual 39

Know that primary and language and symbolic secondary sources must be gestures through their critically evaluated and artwork. must make connections between representations in different genres, styles and traditions. E.g. The representation in an abstract drawing of a butterfly may or may not be relevant to explore for a “natural forms” project due to it ambiguity.

To know and recognise that the use of strategies and painting methods to develop ideas are personal and original.

Know that in art, there is Can select a variety of an argument for an against strategies and methods for the process of art critiquing mapping and scaling based and that many believe that on purpose, and apply them the role of a critic has been successfully to create replaced by marketing, primary drawings and which possibly makes subsequent paintings. opinions disingenuous. Can use known methods to Know that painting was make a painting appear developed as an artwork as increasingly photo-realistic opposed to mainly religious or hyper-realistic when

artefacts during the appropriate. These methods Renaissance period, unlike may consist of: previous gothic works. - Accurate scaling Drawing, which mainly - Appropriate informed painting, also mapping Year 10 became less utilitarian and - Identification of more valued as an art form. light sources Painting was perceived as a - Capturing form mastery skill but became - Layering more accessible and - Variety of tones prevalent due to the - Controlled blending humanism movement in - Smooth gradients of education, which was tone heavily influenced by the - Appropriate use of Greek philosopher Plato. mark making. - Creating depth from Know that the process of scale or tone painting is in itself an - Detailed texture artform and its outcome can be linked to performance Use a wide range of mark art. making and drawing mediums to portray expression, mood, and

personal experience of the artist.

Present a personal and meaningful response that realises intentions and demonstrates a clear understanding of visual language.

Can select a variety of strategies and methods for mapping and scaling based Know that a creative risk is on purpose and apply them an personal exploration of successfully to create avenues within art that can primary drawings for an defy the norms of a Year 11 artwork. particular medium, style,

movement. Articulate the impact of

known methods to make a

drawing appear increasingly photo-realistic or hyper-realistic when appropriate.

Can take measured and conscious creative risks and explore ideas though a process of experimentation.

Further study and proficiency

National Curriculum for Art & Design Progression map overview • Learn about the work of a range of artists, craft makers Analysing & Evaluating and designers. • Evaluate and analyse creative works using the language of art, craft and design • To analyse and evaluate their own work, and that of ART DEPARTMENT others, in order to strengthen the visual impact or

applications of their work

Visual analysis is the basic unit of art historical writing. The purpose of a visual analysis is to

recognise and understand the visual choices the artist made in creating the artwork. By

observing and writing about separate parts of the art object, students will come to a better understanding of an artwork as a whole. Art history portrays a subjective view of the past, and

as art historians, students will experience cultures, through artwork, that are more distant in time EVALUATING?

WHY ANALYSING & & WHYANALYSING and space.

Analysing artowrks Taking an Beginning to make in more detail with

independent

KS2 KS3 KS4 KS1 connections between regards to content, Analysing the impact EYFS an artist's work and context and symbolic approach through of artist’s choices not their own. references. self-directed only in the same Identify what they critique via discipline but across can see in an artist's Identifying themes in Gain knowledge of styles, movements annotations. work or their own an artwork. artist influence and impact of their own and periods of time. choices. Begin to biuld Developing their Beginning to justify Articulate their narratives when knowledge of the their intentions and looking at artworks elements of art. conceptual and Beginning to independent choices consider the contextual journey in artistic characeristics of throughout a Focus on colour in an Reflect on their own investigation. work. artworks across project. artwork movements.

Progression Mapping: Art and Design – Analysing and Evaluating

Visual analysis is the basic unit of art historical writing. The purpose of a visual analysis is to recognise and understand the visual choices the artist made in creating the artwork. By observing and writing about separate parts of the art object, students will come to a better understanding of an artwork as a whole. Art history portrays a subjective view of the past, and as art historians, students will experience cultures, through artwork, that are more distant in time and space.

Evaluating: Analysing Language for Subjective – finding Content and Context Analysing and and assessing the How, why, what if? Evaluating value Comment on the subject like in an artwork Can discuss what they Nursery have created in their dislike Identify the colours used artwork in an artwork opinion Comment on the subject and narrative in an artwork Can comment on whether favourite they like and dislike Identify colours in an their own work like Reception artwork Can say whether they Discuss the shapes in an like and dislike an dislike artwork and what they artwork are (e.g. circles form the shows face)

Articulate their Able to identify the understanding of the content or theme of an subject or theme of their artwork such as nature, artwork and link that to explain city or people etc. the artist in study.

Identify the colours in an decide Can comment on the use artwork and link to of colour in their artwork colour properties (e.g. Year 1 and link this to the work compare primary and secondary). of the artist and colour

properties (primary and Make connections prefer secondary colours). between an artwork and

their own work (subject) Can discuss how artists

can be influenced by each

other (e.g. the work Identify colour, line, produced in class or how shape and comment on

the appearance of these their work is influenced elements using key by the artist in study) language (e.g. curved or arched lines). Can describe their artwork linking to the Generate basic questions elements of art and about the content of an suggest how they have artwork (e.g. What is the been successful (e.g. I artwork about? What did used control when I drew the artists want to my lines) show?) Can say what they like and dislike about an artwork and why.

Can say what they like and dislike about their own artwork and why.

Agree targets on how to improve their work.

Able to identify the Articulate their content or theme of an understanding of their artwork such as nature, artwork and link that to city or people and link it the artist in study with to the work of another reference to the subject artist. or theme, discipline (painter, sculptor, printer Identify the colours in an etc) or elements of art. predict artwork and link to colour families and colour Can comment on the use opinion properties (e.g. primary, of colour in their artwork secondary) and link this to the work of the artist and colour recommend Make connections properties including Year 2 between an artwork and colour families. evaluate their own work (subject, colour, style or process) Can discuss how their work may be influenced support Identify colour, line, by that of the artist. Can shape, pattern, space and begin to suggest how compare tone and comment on the successful these links appearance of these were. elements using key language. Can describe their artwork linking to the Generate basic questions elements of art and about the content and suggest how they have context of an artwork been successful in using and form opinions of how them. Can compare these

an artwork was produced elements to those used by based on its outcome. the artist in study.

Generate suggestions as to how they were successful in their work and propose development points for the future.

Able to identify or Articulate the purpose of interpret the content or their artwork and link theme of an artwork such that to the artist in study as nature, city or people and other artists working and link it to the work of within this discipline. other artists with similar practices. Can comment and Identify the colours in an explain the use of colour artwork and link to in their artwork and link colour families, this to the work of the hypothesise properties and its impact artist. Discusses the on mood (e.g. brightly impact of the use of coloured may suggest colour referencing colour assess bliss) properties including colour families. judge Make connections between an artwork and Can discuss how their their own work (subject, work may be influenced argue colour, style, process or by that of the artist. Can Year 3 theme) suggest how successful examine and apparent these links Identify colour, line, are. shape, pattern, space, relate form, texture and tone Can describe how their and comment on the artwork links to the summarise appearance of these elements of art and elements using key explain why they have language. Begins to chosen such elements in express explore the purpose of their work. these elements (e.g. undulated lines create Generate suggestions as rhythm). to how they were successful in their work Generate questions about and propose development an artwork and form points for the future. opinions of how an Consider how using other artwork was produced disciplines may impact based on knowledge of their work. previously studied artists. 45

Able to hypothesise about Articulate the purpose the content or theme of and rationale of their an artwork such as artwork and link that to nature, city or people and the artist in study and link it to the work of other artists working other artists across within this discipline, different art movements movement or time period. (e.g. portraiture by Rembrandt and David criticise Hockney). Can explain how colour has been used in their Identify the colours in an artwork and link this to justify artwork and link to the work of the artist or colour families, artists. Discusses the convince properties and its impact impact of colour on mood on mood. Links colour to and subject matter subject matter or theme. referencing colour classify (e.g Picasso’s Blue Period properties including uses muted colours to colour families. interpret Year 4 complement the feeling of its subject) Can note clear influences of the artist’s work found construct Make connections in their own artwork. between an artwork and Can explain how conveys their own work (subject, successful and apparent colour, style, process or these links are and give theme – identifies reasons as to why they evokes similarities between were used (e.g. Jacob social references (e.g. the Lawrence uses naïve indicates migration of black people shapes in his work to in Jacob Lawrence’s simplify his work and artwork and that of the refrain from Anglo-Saxons in the past. individuality).

Identify all elements of Can explain how their art within an artwork artwork links to the and comment on the elements of art and appearance of these explain their impact with elements using key reference to particular 46

language. Explores the artists, movements or purpose of these periods. E.g. Wayne elements with reasonable Thiebaud uses vibrant hypotheses (e.g. shapes colours, which not only are spaced apart to reflects the notion of convey loneliness). childhood, but also the vibrancy of the 1960s. Generate insightful questions about the Explain how they were content, context and successful in their work mood of an artwork and and independently form opinions of how an generate developmental artwork was produced targets for the future based on knowledge of with reference to the artistic practices that artist’s practice. E.g. To they have previously use differing line weight utilised. to mirror that of Roy Lichtenstein. Link to the culture surrounding an artwork Make valid suggestions (e.g. vibrancy and on how their work could freedom of 1960s in turn be completed using a influencing Jackson variety of disciplines Pollock and Abstract which may impact their Impressionism). work.

Can confidently Able to hypothesise about articulate the purpose the content, context and and rationale behind theme of an artwork and their artwork. Judge compare this to the their artwork against practice of other artists that of the artist in study within the same, or conclude and other artists working different art movements within this movement (e.g. the differences and ascertain how they critique between Juan Gris and have utilised / Pablo Picasso in disregarded certain Cubism). connotes aspects of the artist’s

work. Year 5 Identify the colours in an illustrates artwork and link to Can explain how and colour families, why colour has been used properties and its impact comparable in their artwork and link on mood. Links colour to this to the work of subject matter or theme, similar artists working in provokes cultural influences (e.g. this manner. Discusses brightly coloured the impact of colour on patterns used to mood and subject matter celebrate African culture referencing colour in Esther Mahlangu’s properties including artwork) colour families. Can

ascertain whether the 47

Make connections colour used in their work between an artwork and has greater meaning or is their own work (subject, symbolic (e.g. the use of a colour, style, process or blue hue in Picasso’s theme – empathises with Blue Period to reflect the the process of artwork artist’s own emotional created by both the artist state at the time). and themselves). Can explain how and Explains the purpose of why they have used an the elements of art artist’s influence in their within an artwork and own work. They suggest generates plausible how they have modified reasons as to why the this to make their own artist has utilised them work more original. Can in this manner (e.g. explain how successful Picasso uses fragmented and apparent these links shapes to convey a sense are and give reasons as of broken society and to why they were used isolation). (e.g. Nevinson uses blocked shapes as a Generate insightful homage to the Cubist questions about the painters working at the content, context and time.) mood an artwork and identify the key Can explain how their processess of an artist’s artwork links to the practice based upon elements of art and knowledge of artistic clarify their impact with practices that they have reference to particular previously studied and artists, movements or understanding of artistic periods. Can characterise movements and their artwork within an disciplines. Begins to art movement using discuss the significance these elements. E.g. The of artist’s choice of lines, shapes and form of practice. my artwork was influenced by the Link to the cultural and contours created by social aspects Barbara Hepworth. surrounding an artwork These shapes were often (e.g. Renaisance portraits organic which was a portrayed realism to distinguishing show a high level of skill characteristic seen and an element of within many modernist humanism and improved sculptures during this education). period.

Critique their (and other’s work) with emphasis on theory. Generate developmental 48

targets for themselves and others for future artworks with reference to the artist’s practice. E.g. To modify the lines used within my sculpture so that they are more organic, mirroring those of Hepworth’s artwork. Make valid suggestions on how their work could be completed using a variety of disciplines and explain how this could change the context and symbolism. E.g creating a Cubist portrait using sculpture as opposed to paint on canvas. Can confidently Able to identify and articulate the purpose interpret the content, and rationale behind context, theme or their artwork with symbolism of an artwork reference to its place in and compare this to the history. Critique their practice of other artists artwork against that of across different the artist in study or accentuate milestones and events in other artists irrespective time (e.g. Kath Kollwitz of movement or time portrayal of despair in emphasis within art history. contrast with that of Ascertain how they have Pablo Picasso’s Blue utilised / disregarded articulate Period). certain aspects of the

artist’s work with Identify the purpose of significance explanations. colour in an artwork and Year 6 link to colour families, Can explain how and implications properties and its impact why colour has been used on mood. Links colour to in their artwork and link subject matter or theme, applicable this to the work of artists cultural influences or working in differing time period in time/art periods / movements. movements (e.g. Discusses the impact of chiaroscuro used in colour on mood and Renaissance paintings) subject matter

referencing colour Make connections properties including between an artwork and colour families. Can their own work. explain the personal Understands the purpose symbolic references of of the artwork and its colour within their work connections to subject, (e.g. I decided to utilise 49 colour, style, process or the warm colour family theme with detail. in this particular area of my watercolour painting Analyses the use of the as it indicates a small elements of art within an beacon of hope for the artwork and generates subject struggling within plausible and evidence the image). based reasons as to why the artist has utilised Can explain how, why them in this manner (e.g. and to what extent they Christian Boltanski have used an artist’s utilising monochromatic influence in their own to convey melancholy and work. They explain in stillness in his work). detail how and why they have modified this to Generate questions and make their own work evidence based more original. Can statements about the explain how successful content, context and and apparent these links mood an artwork and are and give reasons as identify the key processes to why they were used of an artist’s practice (e.g. I have blurred the using key vocabulary face of this person to hide based upon knowledge of one’s identity, which is a artistic practices that similar element of they have previously Botanski’s work.) studied and understanding of artistic Can explain how and movements and why their artwork links disciplines. Discusses the to the elements of art significance and and clarify their impact limitations of artist’s with reference to a range choice of discipline. of artists, movements or periods. Can characterise or omit their artwork Shows an understanding within an art movement of how art movements or period of art history and artists influence based on these elements. each other (e.g. how E.g. The clear contrast of Vincent van Gogh was dark and light pays influenced by Hokusai’s homage to the work). Renaissance painters, yet the subject matter is Link to the cultural and closely related to social aspects contemporary artists. surrounding an artwork. Judges the symbolism Critique their (and and its purpose and other’s work) with value in an artwork. emphasis on theory. Generate developmental targets for themselves and others for future 50

artworks with reference to the artist’s practice. E.g. To modify the lines used within my sculpture so that they are more organic, mirroring those of Hepworth’s artwork.

Develop clear strategies on how their work could be completed using a variety of disciplines that would further enhance the purpose and rationale of their artwork. E.g. Instead of using a modern camera and editing software to mimic Boltanksi’s work, I could use a camera from this period to make my artwork more authentic. Can justify the intention Able to identify and of their artistic process interpret the content, reference to its place in context, theme or history E.g. influence of symbolism of an artwork movement, discipline etc. and compare this to the

practice of other artists Critique their artwork conveying the same against that of the artist theme. Know how these in study or other artists elements have impacted irrespective of movement the artwork. or time within art

history. Ascertain how Identify and explain the they have utilised / process of the application disregarded certain of colour. Can make valid intent aspects of the artist’s Year 7 arguments for and work with explanations. against the use of colour critique

for purpose in an Can explain how and artwork. why colour has been used

in their artwork and link Know how to evaluate this to the work of artists relevant visual working in differing time information, analysing periods / movements. how codes and Process is clearly defined conventions are used to with regards to the represent ideas, beliefs mixing of colour if and values in different appropriate. genres, styles and

traditions and compare Discusses the impact of those to their own colour on mood and 51

intentions within an subject matter artwork. referencing colour properties including Analyses the use of the colour families and elements of art within an analogous colours. Can artwork regardless of explain whether their prior knowledge and intentions have been generates plausible successful and suggest reasons as to why the how they can explore artist has utilised them further. in this manner. Can explain how, why Generate critique based and to what extent they questions and evidential have used an artist’s statements about the influence in their own intentions of an artist or work. artwork and identify the key processes of an Can explain how they artist’s practice using key have exploited and vocabulary based upon manipulated the knowledge of own elements of art in their disciplines that they artwork. They clarify have previously studied. their impact with reference to audience and Discusses the artistic intent. significance and limitations of artist’s Critique their (and choice of subject matter other’s work) with in comparison to those emphasis on intent. with a similar theme. E.g. how the theme of Generate developmental tregedy may be conveyed targets for themselves in a Kathe Kollwitz and others for future artwork compared to artworks with reference Picasso. to best achieve their intent. Deliberates the authenticity of artists Develop clear strategies when influenced by prior on how their work could movements. be extended and explored further and how they Can summarise why intend to manipulate artworks are their materials. recognisable and how they are associated to an artist by its characteristics

Able to identify and Can justify the rationale interpret the content, of their artistic process Year 8 context, theme or with reference to its symbolism of an artwork. place in history 52

Focus is on societal impact such as: site Can reflect on own work specific art, technological identifying areas needing advances in society etc. further work / improvement. Using this information, they can Analyses the originality, work on a piece over a quality and suitability of period of time, continuing an artist’s work. This to reflect and improve, gauges how creative an making the process very artist can be perceived. thoughtful and personal. Deliberates the authenticity of artists Can develop evaluative when influenced by prior and critical language movements in society. through conversation and written annotations / Discusses the reflective writing. significance of non-visual sources within an artwork, for example: how lines may symbolically portray sound.

Can evaluate personal Contextual work on an ongoing basis understanding and to support portfolio. cultural and social links Judge whether their Year 9 which inform artworks. work aligns to the Comments on spiritual or conventions of a given moral aspects of an movement. artwork.

Can identify key visual Use Barrett’s Principles elements in artists’ work of Interpretation to and explain their critique the work of other rationale behind artists incorporating it into a meaningful personal • Artworks have response "aboutness" and demands Can present structure for Year 10 interpretation. annotation and recording ideas: • Interpretations are persuasive • analyse the work of an arguments. inspirational artist or designer • Good • record technique interpretations invite us to see for • explain the perceptive ourselves and to and critical thinking 53

continue on our behind the sequence of own ideas and analyse the success. • The meanings of

an artwork may Can evaluate on going be different from work and demonstrate its significance to what has been done to the viewer alter / improve a piece

through writing Analyses the process of Reflective, personal and artistic refinement and thoughtful annotations ideas through are sustained throughout investigations a project.

Judges aesthetics and examines the nature and value of art. Judges what is not art and scrutinises worth though imitation, feeling and expression and visual elements

Systematically evaluate and reflect on development of work

Develop project idea Develop annotations, or through meaningful short written piece to investigation of artists’ support final response. work This explains the thought process behind Effective and purposeful the project in question artist analysis and (Set Task / Portfolio) to annotation of work rationalise the techniques used, how Year 11 Apply knowledge of this links with the visual elements and theme, chosen artist (s) demonstrate creative and and the student’s critical and conceptual personal response understanding of artwork Explain the ‘journey’ of the project, what changed and why.

Evaluate and reflect on the practical work through annotation or short piece.

Further study and proficiency

Suggested Language use for Elements of Art across all phases

Element Vocabulary Saturated intermediate gentle tone bright pure muted blend opaque vivid subtle clash pale strong dull cold pastel tint dramatic sepia warm complementary vibrant subdued deep analogous Colour brilliant delicate neutral transparent intense gloomy harmonious hue powerful faded luminous saturation primary bleed mixed shade secondary limited tint value tertiary spectrum translucent monochromatic

geometric form mound uniform organic frame precise vague angular harmonious rough open Shape body image hewn closed figure model sculpt free conical sharp

angular fluent woolly broken free rhythm confident hesitant contour Line faint scribble flowing sweeping

jagged irregular atmospheric 2D sharp regular perspective scale mechanical heavy human stacked man-made solid grid woven organic volume enlarge negative space Form and rounded overlapping motif positive space Space curved floating aerial view symmetrical natural insubstantial ornament asymmetrical angled advance 3D illusion pointed mass

uneven thick gestural cross-hatching bumpy thin complex fine rough wash smooth flat Texture jagged gritty plain brushstroke serrated grainy soft glaze coarse glossy featureless matt splatter silky shiny 55

dramatic strong ashen harsh dark pale bright smooth deep bleached contrast value Tone intense light crisp gradient heavy faded fair rich pallid graduation

diamonds natural repeat uniform embellish negative simple rhythm flowing order spiral motif Pattern fluid ornamental stamp symmetric geometric overlap stencil positive irregular plain structure

happy gloomy delicate mysterious cheerful miserable dignified foreboding optimistic negative disturbing oppressive joyful soothing exciting menacing vibrant calming expressive ominous Mood lively restful fresh threatening positive peaceful humorous alive sad gentle imposing atmospheric depressed sinister nostalgic moody

symmetrical energetic shape rule of thirds asymmetrical balance sharp focus calm active space form still geometric accent distant complex blurred viewfinder near poised confused angle perspective Composition peaceful design dominant plane precise eye-line emphasize foreground classical unity repetition middleground irregular harmony variation background off-centre lively proportion scale