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‘Small schools often combine to share training activities and their common expertise.’ and assessment sheets, to ensure that the subject is being delivered consistently and recorded and assessed effectively. Although ideally active classroom observation and support should be taking place, much can be learnt by such informal monitoring. Assessment procedures Assessment is undeveloped in art and design at primary level at present but there is a national curriculum requirement to report to parents at the end of Key Stage 1 and 2 using National Curriculum levels. The subject leader will have to ensure that this is taking place and that effective assessment procedures have been established for the subject. It is possible to break down these levels into strands to make them more ‘user friendly’. A portfolio collection of pupils’ work, indicating standards of achievement measured against national curriculum levels should be established and reviewed regularly. Assessment procedures for the subject, including development activities for staff, to raise awareness of the issue of assessing Art and Design feature in a separate chapter. Managing resources There may be a limited budget for the subject, together with opportunities for some capital outlay. Each year the subject leader will have the responsibility for either spending this budget and/or advising other staff on the most appropriate materials and equipment to purchase. Resource expenditure should be driven by the long term needs identified in the development plan. Systems for delivery and distribution of these resources are also the responsibility of the subject leader, for some resources will be kept centrally and shared (eg. critical studies resources), whilst others will be held in individual classrooms (eg. basic art materials). It is important to ensure that systems are consistent and that materials and resources are stored and distributed efficiently, without waste. The subject leader may also be responsible for firing a kiln, and establishing some general display procedures in a policy, but the wise co-ordinator should ensure that all teachers share the responsibility for this task. Further guidance on organising materials and media, including clay work, with or without a kiln, and advice on establishing a whole school display policy, again feature in a separate section. Innovative curriculum initiatives Effective co-ordination of the subject involves innovation as well as organisation. Some of the most exciting art work I see is produced by using ‘artists in schools’ effectively, or in ‘art weeks’ when the regular curriculum is suspended allowing concentration for a longer period on one subject. Such initiatives are usually the result of imaginative thinking by the Art and Design subject leader; later sections will consider ways in which the diet of pupils can be varied, and the exciting outcomes that can result. Summary This list of responsibilities may seem daunting, but it does of course represent the ideal, which will not be possible to deliver in every school. Different contexts provide constraints, as well as opportunities. However without active and confident leadership the subject is unlikely to flourish. This handbook aims to provide the essential support and guidance needed to ensure that pupils in primary schools are presented with a range of exciting opportunities for diverse and imaginative art and design activities. In the next issue: Guidance on writing a policy and curriculum plan THE NEW MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT & DESIGN
Age range: 7–11 years Time required: 40 minutes Other artists’ work: Landscapes Resources: Drawing pencils, erasers, rulers, crayons and fine felt tip pens Further reading: Art Sketchbook Tasksheets (Birmingham Advisory and Support Service) 13 START SIMPLE PERSPECTIVE An introduction to single vanishing point perspective. Adadpted from Art Sketchbook Tasksheets, by Giles Hughes Draw a scene using simple perspective The instructions below should be followed step-by-step, working in pencil. When the instructions are complete, some lines can be drawn in more firmly and other working lines rubbed out. Finished drawings can be coloured using pencil crayons or using fine black felt tip to draw in the outlines and detail. This task works well when the teacher demonstrates each step to the class, with the children completing their pictures stage by stage. Once the children have mastered the technique they may wish to attempt other scenes with a single vanishing point, for example, landscape painted or drawn from observation. Extension activities Encourage the children to find and examine landscapes painted or drawn by various artists. Encourage them to identify the horizon and vanishing point, and notice how the artist has achieved a sense of perspective. Giles Hughes is art and design co-ordinator for Colmore Junior School, Birmingham. 1. Draw a line across your page. This will be your horizon. Mark a point along the horizon. This point is called the vanishing point. 2. From the vanishing point draw two lines to the bottom of the page. This will be the road. Draw other lines to the corner of the page as shown. 3. Draw vertical lines to make lamp posts. Draw them getting closer together as they get further away. 4. Draw three lines from the opposite side to the vanishing point. These will form the basis of the houses. 5. Draw in the sides and roofs of the houses. Again, draw them closer together as they get further away. 6. To finish, draw in details and a sky. Carefully rub out any guidelines, and colour if you wish. THE NEW MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT & DESIGN
Page 1 and 2: ST NSEAD The Gatehouse, Corsham Cou
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