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If I was to run this unit again I would switch the running order of the two artworks - using the 5 week block to complete the clay tiles, this would have allowed me time to have them glazed and ready for final presentation. In doing the collaborate painting, I would have studnets choose their indivisual section and complete a number of studies in various media before working onto the final artefact. This would allow studnets to gain more experience in a variety of media and have a sure plan when completing their final work. I would also complete a demo/exploraiton of paint with this group and encourage them to expeiment with the medium to add texture/dimension to the final work.

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Evidently, this unit did not run as originally planned. It was necessary to adapt this unit greatly for it to be pitched an appropriate/achievable level for the learners in this group. Allowing students to express their opinions and re-evaluate the direction of the unit allowed for them to create a unit which they would be happy/able to complete. Consulting with my co-operating teacher she recommended that I have a second smaller unit prepared for after mid-term as the learners in this group will lose interest/refuse to work on an extended process. This resulted in my planning of an extension/branch project, creating clay tiles from the previously collected primary source imagery.

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Research - students decided on and documented sites relevant to their theme of "The Local Environment" using the school grounds as inspiration. Sucessfully used photography and drawing as documentary tools. Students decided collectively to take the unit in a different, more collaborative direction.

Developing Ideas - Students worked collaboratively to decide on a new direction to take the unit, opting to create one large-scale group painting in lieu of 10-15 smaller individual ones. This demonstrated growth and maturity in the group by planning for a more ambitious piece of work.

Making - Students completed individual drawing studies from their primary source photographs. Students incorporated a variety of media into their large-scale work including, drawing, watercolour paint, acrylic paint and collage.

Contextual References - students investigated and discussed the work of George Shaw, referring to the subject matter and themes within his work. Investigated the work of Piet Mondrian in terms of colour and composition of their large-scale painting.

Reflection and Evaluation - Students created a poster to be distributed around the school promoting and explaining their exhibition. Worked collaboratively to seek permission from the school to display their work in the canteen.

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If I was to do this unit again I would discuss with my co-operating teacher to organise a gallery visit for studnets - we did try toorganize this but left it to late. I would also place more emphasis on the application of and the imortance of paint as a medium, perhaps looking into the history of it. I would also have had students to complete a series of studies into their sketchbooks using acrylic paint, prior to proceeding to the final work. These would exist alongside the ink studies in which students gained an understanding of tone and shade.

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1.1 - Students would have benefitted from further artist research throughout this unit - in particular individual research assignments. This would have helped students feel more connected to the context in which they created their paintings.

2.3 - One or more lessons dedicated to the applications of paint would have been a huge benefit for these students - this would have brought more of their individual creativity to the fore of their work.

3.3 - having students visit a gallery would have been of massive benefit to the organization of the in school exhibition of work. Though we completed a virtual gallery visit and explored the gallery visit section in their Visual Studies boos, students were still unsure when it came to the display of works as one cohesive exhibition.

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1.1 - students have analysed the work of George Shaw using critical and visual language to describe and evaluate his work.

1.2 - students record information about their local built environment through a variety of processes including drawing, photography, notes and rubbings.

1.3 - students have used problem-solving to extract relevant information from research and translate these into ink drawings.

1.4 - students explore the wider context of their work, identifying links between their work and that of other artists investigating similar subject matter.

1.5 - annotations in the sketchbook explaining their processes and decision-making.

2.1 - students have developed a final composition based on their research and investigations, displaying creativity and imagination.

2.2 - effectively used AEDP in creating and evaluating their work and that of others using relevant visual language.

2.3 - students developed and experienced with their work, and justified their application of paint. The final work relates to research and developmental processes.

2.4 - have presented their work in a considered manner which communicated the context behind their making processes.

3.1 - be able to recognise artistic thinking in their work, drawing on prior artist research.

3.2 - students have used their artist's statements to articulate the context in which their work occurs.

3.3 - using their final artists' statements students argue for the value of their work.

3.4 - at the exhibition opening students explained work to peers and faculty, from development to realisation.

3.5 - students have displayed an ability to interpret sources of information and justify their research, process and decision-making.

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If I was to do this unit again I would spend much longer on the research/initial ideas stage of the project - this would include creating further drawings which would be refined and adjusted to suit the medium of lino printing. I would also include a site visit/collection of primary source imagery to inform the poster design rather than relying solely on found imagery and manipulating it to fit the theme. I would also continuously make students aware of typeface and poster design throughout the unit, this would keep them thinking of their designs as posters, not just prints. I was told at the beginning of placement that there would be no problem in getting laptops for the learners when needed - this was technically true, though only 7/24 worked. In doing this again I would check the quality of the devices students have access to, to know if a digital element in a unit is actually possible. If it was not possible for students to have access to these I would include text into the print itself saving the need for converting prints to posters after the fact and aiding the disjointed nature of the end of this unit.

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2.3 - this unit would have benefitted from further independent artist research to further students understanding of the working processes of a print making artist.

2.4 - I did not require students to complete a sufficient number of research drawings before proceeding forth with their lino designs. These drawings also did not feature enough primary sources as a reference.

3.6 - the design element of this unit was not as prevalent as it should have been, this meant that drawings did not go through as much stringent refinement as required to get them from drawings to successful lino print designs.

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2.3 - students completed artist research on 2 known printmaking artists, using visual language to critique and evaluate their work.

2.4 - students created drawings from collage to be used as designs in their lino printing process.

2.6 - students experimented with line and mark making in their sketchbooks during the design stage along with on a test piece of lino - focus on creating texture and visual interest.

3.2 - Students complete reflective statements showcasing relevant terminology and insights gained from group critiques of their own and others' work.

3.6 - students refine and alter their initial drawing, incorporating feedback into their work until they have created a lino printing design.

3.12 - students complete end-of-unit evaluation/reflection on work using their developed knowledge of AEDP to inform their self assessment.

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If i was to do this unit again I would put a much stronger focus on the design process and the refinement and reevaulation of work that comes along with that. I would also spend longer on the drawing/initial ideas section of this unit having students work more into their drawings, really honing skills using tone and shade. I would also include a coloured pencil tone and shade element into this unit as a lot of students sturggled to understand this when completeing their final pattern.

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3.3 - this unit did not include enough references to the design process and as such this learning outcome suffered. Students did not critique a wide enough variety of design work.

3.6 - The final drawing compositions did not go through any real design refinement before being moved onto the final pattern design.

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1.1 - students completed self and peer assessments in their sketchbooks throughout this unit - using the two ticks and one-star method.

1.4 - students displayed an ability to draw from life, using various media to represent their natural objects in a likeness to life.

1.10 - during later self-assessments, students identified AEDP in their work and explained how they had utilised them - the in-class keywords board aided in this.

3.3 - students decided on and justified where to apply their repeat pattern in a wider design context, using appropriate visual language in their answering.

3.6 - students created a final work by combining elements of all their prior drawings into one cohesive composition which formed the basis of their pattern.

3.12 - students participated in an end-of-unit evaluation of work offering feedback on how to alter/improve peers' work; this was informed by the work of George Shaw and their developed knowledge of AEDP.

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Clay tiles were displayed temporarily on a table in front of the painting as the work was to be viewed as one collective piece.

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Students chose a space large enough to accommodate the work and hung it alongside the poster and clay tiles.

This collaborative artwork has since been obtained by the school - it will be framed and hung permanently in the building.

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Students worked collaboratively to choose a name for their exhibition which related to the work being dispalyed. They then created a digtial poster using Canva (only four in class so just did one collaboratively).

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Clay tiles are fired

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Students used a variety of tools to carve into their tiles as a way to add finer detials to their work.

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Students rolled out thin sheets of clay and then cut out the individual shapes identified in their photogrpahs.

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Transfer drawing onto clay tile using a toothpick.

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For this project to be completed in 3 weeks post mid-term I needed to roll out all clay tiles and cut tracing paper to size for students. This helped save class time along with ensuring uniformity among the collection of works.

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Students used tracing paper cut to the size of their tiles to trace a section of the image which they find to be most interesting.

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Students install and photograph their paintings professionally - accompanied by artist statements and posters.

These paintings have been acquired by the school and will be framed and displayed in the building as a collection.

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Investigating mood through drawing with ink.

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By reviewing statements of other artists students decided on a "formula" for an artist statement; Why? What? How? (do you feel). Students used this formula and some short prompts to write artists statements - these were typed up for H/W and sent to me.

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At the exhibition space students discussed the layout of the collective of works - decided they should exist as a collective rather than individual works.

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Using Canva students created a poster to promote their exhibtion around the school on notice boards and accompany the work in the exhibtion space.

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Some students used acrylic paint markers for their detail work.

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Using fine tipped brushes students focused on detail to enhance realism in the work - looking again at the work of Shaw.

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Paitnings were mounted on white paper to frame the work adn ensure they stood out from the brown exhibtion wall.

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Removing final paintings from the boards and mounting them onto white paper.

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After mid-term studnets were asked to decide on a style/level of realism they would include in their work and create a plan on how to reach that. This student opted to lean into the almost surreal style in her painting.

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Students engaged in class discussion and evaluation of their own and peers work in a group critique set up.

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Documenting the school building using thumbnail sketches.

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Students worked collaboratively in oranizing the display board outside the art room. They then completed a peer assessment of their neighbours work using the 2 ticks and 1 star (wish) method.

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My cooperating teacher asked that this group complete the poster element of this design project by hand rather than digitally as was outlined in my UoL. She expressed that they would not be able to complete digital poster design for their Junior Cert next year so they should gain this experience and learning physically first.

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My Cooperating teacher asked that we complete the typeface component of the poster on coloured sugar paper. I am not happy with this decision as I think it takes away from the high quality of all the prints.

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Completing Reflective Statements on the Printing Process

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Completing Reflective Statements on the Printing Process

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Students were provoided wtih prompts from which to reflect on their CBA1

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Using a common phrase seen on tourism or travel posters; studnets completed a worksheet investigating their options for typeface on the poster.

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Adding colour to enhance the tourism grab for their final posters.

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Expirementatioin and highlighting of detail using Chine Collé printing. Only some students completed this process - they had to decide would their Poster be more impactful without it.

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Throughout the unit students completed self and peer assessment - often onto sticky notes. On two occasions students also completed reflective review of their current progress.

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Printing using black ink only (ease of facilitation and uniformity).

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Using the Printing press to complete an embossing of Lino Matrix before printing with ink.

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Using a pencil students redrew their designs onto an eraser, they then used lino cutting tools to carve the pattern out. Similar to what they'd completed digitally students printed their patterns in full/half drop patterns.

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We completed the original UoL before the intended timeline which left me needing to create an extension task. My cooperating teacher suggested rubber/eraser stamp making as it can be printed to create a pattern and would link well with the previous Unit.

This extension took four 40 minute sessions.

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Drawing from observation a natural object and then choosing two or more sections of the object to zoom in on. These zoomed drawings would form reference for a rubber stamp pattern extension project.

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Using my personal laptop and working in groups students made digital mockups of their patterns. Students chose where they would place their patterns in a wider design context - justifying their choices in relation to their individual designs.

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Using prompts, studetns completed a written reflective statement on their final painting.

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Studnets hung their work and completed a peer assessment on sticky notes. We used the 2 ticks and 1 star method (two good parts of the work and one are to improve).

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Students were assigned to find and gather patterns they see in their daily life.

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Completing an art alaysis and research sheet based on the work of William Morris

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Students used Canva to manipulate their patterns digitally - they experimented with full/half drop pattern layouts. This helped students visualise their patterns as wallpaper - drawing inspiration from the work of Willaim Morris.

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Students using fineliner to add detail and defentition to their paintings

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Using the photocopier as a means of physically multiplying students patterns.

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Most students are approaching the end point in the colour phase of their repeat pattern. I have told the group we will only spend 1 week after mid term to finalise this and then we will move onto the digitall portion of the project. Studnets will digitally multiply their repeat pattern and use software to create mockups of their patterns being applied to products/design material.

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It will be very tight for all 24 studnets to complete a lino print in the three weeks after mid term so we will be working solidly at this. Some studnets will get this completed and they will move onto a further design task of including a slogan/words onto their lino prints - this will be done digitially using Canva.

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There are some students in this group who will require a further two/three weeks to work on their paintings to get them to completion. At the end, we will have an exhibition of work in school and students will complete an artist statement to accompany the work.

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For the last three weeks I will begin a tile making project with this group. They will use thier primary source photographs as guides and draw/carve the drawing into the tile shape - at the end these will all join together as a mosiac. This will proabably not be completed in three weeks and as such my co-operating teacher will see this project out with them, firing and glazing the tiles

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Smaller sections were joined onto the final large scale work. Overall this was a very sucessful peice of work for this group and we will be celebrating it by hosting an in school exhibiton opening.

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Differenciation approach - some students opted to work on a section on a seperate peice of paper that could be joined to the larger scale work at the end.

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Building opacity in layering acrylic paint.

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Applying base layers of paint in thin washes.

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Transferring drawing of primary source object onto the board using acrylic paint.

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Thumbnail skethcing in sketchbook - using photographs as reference.

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We have begun lino cutting again with updated designs and B&W template.

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Returning to the design process - some students changed their plans when creating a B&W template. These new designs were transferred to lino again.

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Drawings transferred onto lino block.

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Using tracign paper to transfer images to lino block - carbon paper will not work on blue lino.

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Using coloured pencils to add dimension and detail over watercolur paint.

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Using Watercolour paint to add colour to pattern design.

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Some of the faster workers among the group completed a colour study in sketchbook.

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Using tracing paper to transfer four copies of the final drawing into one image - using mirror images.

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Combining 2 or more objects into one drawing to be used as final pattern compostion.

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Observational drawing experimentation with a variety of media from their art packs - fineliner and watercolour paint.

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Project began with observational drawing from obects we sourced on the school grounds.

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Some students had begun cutting thier lino before they had dont a B&W plan. This was an oversight on my part and had to move them backwards for clarity of project.

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Choosing areas to be Black and White in the print.

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Using collage image as reference for drawing - introduced creative liberty.