zilongwang/ReadingBank huggingface dataset:
Vision / future plan Continuation of research activities considering weather conditions and requirements of rain-fed areas for: - Evaluation/Development of Wheat varieties. Selection and introduction of Pulses and Oilseed crops. Selection and introduction of high yielding and nutritious Gawara crop for the semi irrigated areas of Kohat Division. Research on the introduction of non-traditional crops e.g. Mushroom, Asparagus and Caralluma etc. Research on the use of organic and mineral fertilizers for profitable/economical crops yields. Research and Development on Guava to produce true to type plants for farming community. Raising of fruit nurseries i.e. Pomegranates, citrus, fig, peaches and grapes for farming community. Training of farmers in soil sampling and nursery growing. Development projects / ADP Technological Improvement In Research And Strengthening Of Agricultural Research Stations Of KPK Achievements Three wheat varieties (KT-2000, KT-2003 & KT-2010) have been released for rain fed areas. Millet variety (KT-98) has also been evolved for barani area. Candidate wheat lines (KT-325,335, and 338) have been selected as high yielding and is included in the final process of testing. Canola line (SPS1 and SPS2 in final stages) Research work on Caralluma (Chungan) has been started from 2012-13 under the project “Research and Development of Caralluma in KPK” has been completed in June 2015. Research work on Guava has been started from 2012-13 under the project entitled “Research and Development on Guava” has been completed in June 2015. Developed the cultivation technology of Caralluma (Chungan). During last year (2015-16), 11.4 ton wheat seed of different varieties was produced. Published several research papers in National & International Journals. Delivered many radio talks on different crops in Karkeela programme of Radio Pakistan Peshawar.
Performance Objective Content Skills Vocabulary Assessment Resources PO 1.3 PO 201 Identify, select & use elements & principles to organize the composition in his or her own artwork. ELEMENTS OF ART Know that visual art is organized by the elements of art. Be able to recognize line, shape, form, texture, value & color Line, form, texture, color, value Observation & use in project SHAPE Know 5 basic shapes Circle, oval, triangle, rectangle, square SHAPE Know difference between geometric & organic Geometric, organic Know Line types-straight curved & angular Straight, curved, angular LINES Know categories of solid, broken, long, short, thick, thin LINES Know differences in quality or texture LINES Know the directions of Vertical, horizontal, diagonal LINES Be aware of how different tools create different quality of line
Content Skills Vocabulary Assessment Resources ELEMENTS OF ART SPACE Intro to perspective (aerial & linear)(5th grade only) Perspective, aerial, linear Observation & use in project website for tessellations Egyptian Name Translator for unit on Egyptian art The following is an online game of Senet. Board games were very popular with the Egyptians. Lesson this is a website that has lesson plans for art teachers. This is a lesson plan for Mondrian Chinese name translator I use for Chinese Brush Writing This website’s first page has three ways to browse. You can search by subject, browse by keyword (on right side of screen) or, the one I use a lot, is select a grade from the keys on upper right and then use drop down menu to select area. This site has some nice lesson plans. Go into the search area and enter art lessons. Check out the art lessons. SPACE to optical illusions. How to deal with positive & negative space along with overlapping (5th grade only) Optical illusion, overlapping SPACE How to deal with focal point or center of interest & background (5th grade only) Focal point, center of interest, background VALUE Intro basics of shading shading PO 1.3 PO 201 Identify, select & use elements & principles to organize the composition in his or her own artwork. ELEMENTS OF ART Students to be exposed to light, medium, dark values. Introduction to concept of contrast as it relates to value.(5th grade only) Value contrast Observation & use in project TEXTURE Know difference between fake & real textures (actual & simulated; rough/smooth, etc.) actual
Content Skills Vocabulary Assessment Resources DESIGN PRINCIPLES RHYTHM Introductory discussion at teacher discretion of this 9-12 concept. This is very difficult concept. (5th grade only) Rhythm Observation & use in project EMPHASIS Discuss this design principle in conjunction with composition, focal point or center of interest & supporting background details. (5th grade only) Emphasis, composition, center of interest, background UNITY Make sure students are aware all parts of artwork show look like they belong together &/or are pleasing to eye unity
The learner must know: Assessment Requirements Evidence Location 3.a How to present points of view Learners should present information and points of view about their ideas, using appropriate language The following assessment methods can be used in the assessment of this standard: tasks/questions and answers questions and answers discussion log/reflective journal discussion This list is not exhaustive and appropriate assessment methods may be used. 3.b How to contribute to discussions Learners should prepare for and contribute to formal discussions of ideas and opinions Final Tutor Feedback (Strengths and Areas for Improvement):
List of artists for research papers: Use the internet to check out the artists below until you find three that interest you. You may choose an artist not on the list, but you must get my approval before writing your proposal. NOTE: Each student must write on a different artist. Submit your three choices. From those three I will select one. NOTE: The thesis question is the same for everyone in the class: In what way(s) is the art made by the artist you have selected “Latin American” or “Latina/o”? Does the artist identify him- or herself with a nation like Mexico or Brazil, for example? After you have done some preliminary research, propose an answer to that question and write it as your thesis statement. (See syllabus page 5 for more information on writing the thesis statement and proposal.) The research you do for the paper is directed at finding out if your answer to the question of how the artist’s identity is part of their work is correct. If your research shows that your thesis is wrong, or only true for some of their artworks, revise the thesis before you start working on the paper. It’s perfectly fine to argue that only a certain body of work by the artist is related to his or her identity. Argentina Lucio Fontana Xul Solar Guillermo Kuitca Brazil Lygia Clark Adriana Varejão Tarsila do Amaral Anita Malfatti Vik Muniz Hélio Oiticica Cildo Meireles Adriana Varejão Chile Alfredo Jaar Roberto Matta Eugenio Dittborn Colombia Fernando Botero Doris Salcedo Beatriz González Cuba Wifredo Lam Manuel Mendive Jose Bedia Latina/o Felix Gonzalez-Torres (Cuban-American) Coco Fusco Judy Baca
Course Overview The CCNY Art department provided the following description for ART 21000: “Practice in the styles and forms of expository writing required in the arts. Readings that acquaint students with standards of good writing about the arts.” Course Learning Outcomes The course syllabus (see Appendix 1) states that students who complete the course should gain confidence in: writing an articulate, in-depth scholarly analysis of art in formal English language understanding and implementing the art-historical methodology using printed and online academic sources for art-historical research organizing visual observations and historical information into essays with notes and bibliographies Assessment Findings The short paper assignment was divided into two parts: outline and final draft. One rewrite of each part of the assignment was allowed and the grade for each attempt was averaged. The results below are based on the graded final drafts. Learning outcomes Course Grading Rubric Criteria Rubric benchmark General Education Rubric Alignment Brief description of findings* Meeting the Benchmark Thesis Statement Thesis/Main idea 94.5% meets benchmark, 81% excels Exceeds expectations Methodology Context /Assumptions, Student’s position; Demonstrates a understanding of info needs and is able to search efficiently 87% meets benchmark, 54.5% excels Above Average Body Paragraph Development Context /Assumptions; Student’s position; Evidence and Development; Evidence /Analysis and Synthesis; Effectively evaluates information sources 90% meets benchmark, 62.5% excels Exceeds expectations Essay Structure Structure and Organization 91.5% meets benchmark, 75.5% excels Exceeds expectations Mechanic and Style Control of Syntax and Mechanics 94.5% meets benchmark, 42% excels Exceeds expectations Chicago Manual of Style Uses information ethically 85% meets benchmark, 42% excels Above Average Grammar 90% meets benchmark, 59.5% excels Exceeds expectations
T. 9/29 • Project #2, Work on finish Th. 10/1 • Project #2, Due for crit • Project #3, Examples T. 10/6 • Project #3, Thumbnails • Project #3, Analysis due • Project #2, Due for grading Th. 10/8 • Project #3, Studies, Color Comps • Project #3, Thumbnails due T. 10/13 • Project #3, Work on finish • Project #3, studies and color comps due Th. 10/15 • Project #3, Work on finish T. 10/20 • Project #3, Due for crit • Project #4, Examples Th. 10/22 • Project #4, Thumbnails • Project #4, Analysis due • Project #3, Due for grading T. 10/27 • Project #4, Value studies and color comps • Project #4, Thumbnails due Th. 10/29 • Project #4, Work on finish • Project #4, Value studies and color comps due T.11/3 • Project #4, Work on finish Th. 11/5 • Project #4, Work on finish T. 11/10 • Project #4, Due for crit • Project #5, Examples Th. 11/12 • Project #5, Thumbnails • Project #5, Analysis due • Project #4, Due for grading T. 11/17 • Project #5, studies and color comps • Project #5, Thumbnails due Th.11/19 • Project #5, Work on finish • Project #5, Value studies and color comps due T. 11/24 • Project #5, Work on finish T. 11/26 No class – Thanksgiving Holiday T. 12/1 • Project #5, Work on finish Th. 12/3 • Project #5, Due for presentation and grading • Bring in all five projects T. 12/8 • Return all grade slips Th. 12/10 • Finals week, no class T. 12/15 • Finals week, no class Supplies
APPLICATION FORM Art and Design Year 10 Summer School 23rd – 25th July 2018 Deadline for Applications 30th April 2018 Section 1: to be completed by the student Section 2: to be completed by the parent/carer Section 3: to be completed by the teacher First name(s): Family name: (please tick) Male Female Age: Date of birth: Ethnic origin: White Asian Chinese Mixed Parentage please specify below ………........................................ Other please specify below ………........................................ Address: Postcode: Telephone Home number: Student Mobile number: Email address: (CAPITALS) School/college name: Subject (e.g. GCSE or BTEC) Predicted Grade (4) = Definitely (3) = Probably (2) = Probably not (1) = Definitely not
Please tick if student fulfils the below criteria The student MUST be in year 10 The student MUST be studying an Art or Design related subject at GCSE or BTEC e.g. Graphics, Art and Design, Resistant Materials, Photography The student MUST have the ability to progress to HE [must have the potential to achieve A-C/9-4 at GCSE level] The student MUST be interested in studying in the local area The student MUST be available to attend all three days of the summer school You must provide a reference to support the student’s application. This should include any additional information that may have a bearing on the students application, including if they have ever been a looked after child. Declaration to be signed by teacher: Has the student ever been suspended or expelled from school: Yes = If yes, what was the reason? No = Is the student awaiting a disciplinary action: Yes = No = I have checked the details on this application form. I confirm to the best of my knowledge that it is correct and I support this application. All information must be completed, for applications to be considered. Name of teacher: Signature of teacher: Date signed: Completed forms should be returned to: Outreach and Widening Participation – Art and Design Year 10 Summer School, University of Gloucestershire, Pittville Student Village, Laurie Lee Building, Albert Road, Cheltenham, GL52 3JG Deadline for applications: 30th April 2018
Art Club Calendar 2017-2018 September 25th Matisse's Masterpieces October 2nd Cezanne's Circus October 9th Matisse's Masterpieces October 16th Cezanne's Circus October 23rd Matisse's Masterpieces OCTOBER 30TH INSERVICE November 6th Cezanne's Circus November 13th Matisse's Masterpieces November 20th Cezanne's Circus November 27th Matisse's Masterpieces December 4th Cezanne's Circus December 11th Matisse'sMasterpieces December 18th Cezanne's Circus December 1st No School January 8th Matisse's Masterpieces January 15th No School INSERVICE January 22nd Cezanne's Circus January 29th Matisse's Masterpieces February 5th
---Left to right or top to bottom, and perfectly or almost perfectly. Contrast: The artist is showing how different things are by showing the opposites of… Proportion: The artist is showing how big or little something is by comparing… Harmony: The artist has made things go together… Unity: These things look like they are part of a set somehow, because something is very alike… Repetition/Pattern: The artist has repeated something, either exactly, to make a pattern, or just repeated things to make your eye jump here and there. What is it? Art Criticism: Interpretation Now it’s time to try and figure out what the artwork is about. Your own perspectives, associations and experiences meet with "the evidence" found in the work of art. All art works are about something. Some artworks are about color, their subject matter, and social or cultural issues. Some artworks are very accessible — that is, relatively easy for the viewer to understand what the artist was doing. Other works are highly intellectual, and might not be as easy for us to readily know what the artist was thinking about. So, using the information you gathered in the previous steps, you should be able to make a pretty good guess at what the artwork is about. 18. What words describe this artwork? Circle as many as you want. Strength Fearful Lonely Beautiful Mysterious Hopeful Loving Violent Peaceful Happy Sad Helpful Adventurous Courageous Exciting Mad Caring Fun Interest in shape Interest in color Interest in lines Hateful Pretty Useful Other: ___________________________________________________________________________ 19. Now, in a few sentences, what do you think the artist was trying to say? Why do you think the artist created this artwork the way he/she did? Art Criticism: Evaluation / Judgment This is the culminating and reflecting activity at the end of the art criticism process. You need to come to some conclusions about the artwork based on all the information you have gathered from your description, analysis, and interpretation. 20. What do you think…do you like the artwork??? YES NO
4a. PI Targets: All Student Group PI Target #1 Achieve Advanced or Proficient on all dimensions of the Mood Portrait rubric. PI Target #2 Achieve Advanced or Proficient on all three dimensions of the Demuth Oil Pastel Drawing rubric. PI Target #3 Achieve Advanced or Proficient on all four dimensions of the Clay Architectural Structure rubric. 4b. PI Targets: Focused Student Group (optional) 4c. PI Linked (optional) 4d. PI Weighting (optional) Elective Rating 5a. Level Failing 0% to 69 % of students will meet the PI targets. Needs Improvement 70 % to 84% of students will meet the PI targets. Proficient 85% to 94% of students will meet the PI targets. Distinguished 95% to 100% of students will meet the PI targets. Teacher Signature _________________________Date______ Evaluator Signature _____________________Date______ 5b. Rating Distinguished (3) Proficient (2) Needs Improvement (1) Failing (0) Notes/Explanation Teacher Signature _________________________Date______ Evaluator Signature _____________________Date______ PERFORMANCE MEASURE TASK FRAMEWORK TEMPLATE This template is used to organize performance tasks used in the SLO process. Performance Measure a. Performance Measure Name Mood Portrait SLO Alignment
3b. Scoring Guidelines The rubric is passed out at the beginning of the project and used as a guide. Incomplete work that occurs due to multiple absences is omitted from scoring. Incomplete work due to a lack of student involvement is scored. Other art instructors that score this project must have prior contact with scoring guidelines and lessons. 3c. Score/Performance Reporting Students will know results for the project based on the scored rubric. Scores will be reported in a summary report, including detailed scores for each class of students. PERFORMANCE MEASURE TASK FRAMEWORK TEMPLATE This template is used to organize performance tasks used in the SLO process. Performance Measure a. Performance Measure Name Clay Architectural Structure SLO Alignment
Final Exam guide Art I 8000 Elements of Art I. Line Line is one of the seven . It is considered by most to be the most basic element of art. In terms of art, line is considered to be a moving dot. It has an endless number of uses in the creation of art. The most common use of line is showing an object ends. This type of line is called a . Contour lines are most commonly called outlines. Line can also create the illusion of form in a drawing. is the thickness or thinness of a line. By varying the line quality an artist can show form in a drawing with just the use of line. Line can also indicate shadow and form through the use of . Cross contour lines follow the contours of the object. Much like running your finger around the form of an object. Kinds of lines Vertical lines that move up and down without any slant Horizontal lines- lines that are parallel to the horizon Diagonal lines- lines that slant Zigzag lines- lines made from a combination of diagonal lines Curved Lines that change direction gradually Hatching and crosshatching- using lines to create value Hatching- lines going in the same direction Crosshatching- lines that cross
Any Article of hand Knitting. Any Article of Crochet. Needlepoint Tapestry. Article in Cross or Counted Cross stitch Article in Long Stitch. Article of Embroidery. Any stitch and design. Article of Weaving. Any Material and design. Any Article Demonstrating Patchwork., Quilting or Appliqué. Article of Dressmaking. Dressed Doll. Any Medium. Clothing only to be judged. Soft Toy. Any Design. Coat Hanger. Any Design . Decorative Lavender bag.. Any Medium. Latch Hook Work. Hand Painting on fabric, may be embellished with embroidery.. Painting. Any Medium. Framed or mounted on Card Pastel Any Subject. Drawing. Any Subject. Booking Piece of Collage making. Lino or Mono Print. Leather Work. Metal. May have attachments. Article of Wood Work. Not to be more than 1 metre in size. Model Made from a Kit. Not Lego. Creative Model not made from Kit. Junior Arts & Crafts 9-12 Years CONT….. Working Model. No Restrictions.
I can develop a range of original different materials. Record I can record my using a visual (photography drawing etc.) and other (annotation) methods. I can record my ideas showing emerging technical skill. Present I can create a final piece based on my research and preparatory studies. I can demonstrate emerging ability to use the formal elements to create a final piece. Show a basic – emerging ability to… Develop I can investigate the work of artists and designers relevant to my project. I can analyse the work of other artists using art vocabulary in full sentences. Refine I can experiment with using some artistic materials and techniques. I can make one or two basic links between my work and the work of other artists/ designers. Present Present a statement of intent that communicates the concepts and imagery used within your final print design. Cut out your print design using different lino cutting tools with some accuracy. Experiment with printing on one or two surfaces. Show basic skill in producing a final set of lino prints. Apply one or two hand embellishments to your final prints.
1. Visit an Art Gallery. Look at the works of Art in the gallery. Concentrate on what you think the Art work means. What is the Artist trying to tell you? Read the information next to the work to help you!!! Now you should take pictures of your favourite pieces. Don’t forget to sketch in the gallery! Here is a list of our galleries: Shire Hall Gallery, Cannock Chase sculpture trail, Unit 12 (in Tixall), Hanley Museum and Art Gallery, Walsall, Wolverhampton…. Or go further afield! 2. Make a blog/ Pinterest/Web page/ Powerpoint presentation how Artists communicate meaning to you without using words. 3. Make a piece of work inspired by an artist’s work that you saw in the gallery. What materials will you be inspired to use? How will you make it your own? 4. Choose an issue that you feel strongly about e.g. social media, gender, education etc. Research the theme in general, find artists who have looked at the same or a similar theme and present your work in any visual form. 5. Make a piece of Art in response to your research. This could be a photograph, a painting, sculpture ….
SECURE INDEPENDENT 7 CONVINCINGLY Developed ideas with competent contextual reference Informed investigation Competent critical understanding 3 CONVINCINGLY Informed refinement Appropriate & relevant selection materials, techniques & processes Competent exploration 3 CONVINCINGLY Informed recording Relevant links to intentions Competent reflection 3 CONVINCINGLY Competent realisation Competent use of formal elements & visual language 3 4 DEVELOPING DIRECTED 6 ADEQUATELY Some developed ideas with some competent contextual reference Some investigation Some competent critical understanding 3 ADEQUATELY Some refinement Some appropriate & relevant selection materials, techniques & processes Some competent exploration 3 ADEQUATELY Some informed recording Some relevant links to intentions Some competent reflection 3 ADEQUATELY Some competent realisation Some competent use of formal elements & visual language 3 3 DEVELOPING DIRECTED 5 CONVINCINGLY Developed ideas with basic contextual reference Some relevant investigation Basic critical understanding 2 CONVINCINGLY Basic refinement Some relevant materials, techniques & processes Basic exploration 2 CONVINCINGLY Basic recording Undeveloped links to intentions Basic reflection 2 CONVINCINGLY Basic realisation Basic undeveloped use of formal elements & visual language 2 2 DEVELOPING DIRECTED 4 ADEQUATELY Some developed ideas with basic contextual reference Some relevant investigation Some basic critical understanding 2 ADEQUATELY Some basic refinement Some relevant materials, techniques & processes Some basic exploration 2 ADEQUATELY Some recording Some undeveloped links to intentions Some basic reflection 2 ADEQUATELY Some realisation Some basic undeveloped use of formal elements & visual language 2 1 EMERGING SUPPORTED 3 Undefined ideas with limited contextual reference Superficial investigation Limited critical understanding 1 Superficial refinement Limited materials, techniques & processes Limited exploration 1 Superficial recording Minimal links to intention Limited reflection 1 Undefined realisation Limited superficial use of formal elements & visual language 1 EMERGING SUPPORTED 2 Unclear ideas with very limited contextual reference Very superficial investigation 1 Minimal refinement Some limited materials, techniques & processes Some limited exploration 1 Very superficial recording Some minimal to intention Some limited reflection 1 Very undefined realisation Very limited superficial use of formal elements & visual language 1 EMERGING SUPPORTED 1
Art Themes for Major Project This is your “final exam.” Basically, this is a long term project that will involve research, sketches, and creation during any down-time we have throughout the year. It should show an in-depth exploration of your theme and show your development of skills learned throughout the year. It may be a single final product, or a series of pieces of art. You choose the media, size, and techniques. Do not just “throw together” something at the last minute. Abstract All me Anatomy Animals Archetypes Astrology Astronomy Beauty Beliefs Birds Body parts Books Celebration Celestial Chance Change Childhood Circles Compassion Conflict Conservation Courage Cultures Dark and strange Death Depression Despair Disguise/masquerade Distortions Doors/ Windows Dreams Ecology Elegance Elements Emotions Environment Eyes Faces Fairy tales and folklore Fame Family Tree Fantasy Fashion Film Flowers Fonts and Lettering Food/cooking/edible stuff Freedom Friendship Genealogy/ancestors Gender Ghosts Growth Harvest Heroes Holidays Home Honor Inside Out Inspiration Inventions Joy Justice Landscapes Languages Life’s lessons Literature Loneliness Loss Love Loyalty Masks Mirrors Money Monsters Moving parts Music My life Nature Night Numbers Ocean Odd Opposites Optical illusions Oxymorons Paradise Paradox Pattern Peace Play Poetry Politics Portraits Power Prejudice Protest Puzzles Questions Quotations Race Religion Reflections Resolutions Sacred spaces Sea Seasons Self-portrait Seven wonders Shattered Images Solitude Spirituality Stories Structures Symbols Textures Time Tradition Transformation Transparencies Travel Trees Underwater Urban vs. Rural Vintage Water Weather Weird Where I live Whimsical Wild animals Windows Wings Wisdom Zen
5 Project 5- Personal Investigation Working in A3 sketchbook. This term, students will need to begin a specific action plan detailing their intentions for their Personal Project, which will be completed by Christmas of their second year. They will need to show consideration for how their work will be presented, which techniques they will employ from their first year etc. Planning and development of the unit will be individual to each student. There is no ‘theme’. The progress of the unit will be discussed with the teacher throughout to ensure the project fits within the requirements of the assessment criteria. Aim for 8 pieces in book each week 6 Project 5- Personal Investigation Continue in A3 sketchbook. Explore and investigate project which extends knowledge, technique and skills showing an awareness of media and critical and contextual understandings. Investigate photography and computer generated imagery as well as skills in recording ideas to develop project. Students will be expected to use the summer break to visit galleries and add to their development of their project. Develop a project linking skills previously taught. Project is marked before the end of the summer term. Weekly tutorials and aim for 8 pieces in book each week
Asian – British Asian – Indian – Pakistani Asian background Black – British Black Caribbean Black background d. Irish Irish g. Other Ethnic group Please specify: ……………………………... Please specify: ……………………………………. Please specify: ……………………………………. e. Mixed f. White Asian & White Black & White Other Mixed background White British European Union Other White background Please specify: ……………………………………. Please specify: ……………………………………. 4. I am aged …….... Years .……… Months Date of Birth (DD/MM/YY): 5. How did you hear about the vacancy for which you have applied? Intranet (Skinners’ staff only) Internet * Evening Standard Job Centre Plus Friend / Relative National * Professional Journal * Other * …………………………….. 6. I am a member/follower of the following religious group: None / No religion Buddhist Christian Hindu Jewish Muslim Sikh * …………………………….. I hereby give my consent to Skinners’ Academy processing the information given above in accordance with the purposes stated above. Signed: Dated: TO BE COMPLETED BY APPOINTING OFFICER ONLY Short Listed Interviewed Appointed Completed applications to:
Recent experience to at least GCSE English or CE Level 2. Recent experience at ‘A’ level, or 13+ Scholarship. Experience teaching KS2 or KS3 age pupils. Recent experience in differentiation. √ √ √ √ Skills An excellent and engaging communicator. Excellent classroom management skills. IT literate with experience of using Word, Excel, interactive whiteboards, spreadsheets and databases. Interest in digital IPad drawing and animation √ √ √ √ Personal Qualities Flexible- able to adapt to the busy life of the school. Highly motivated. A team player, suited to a collegiate working environment. Excellent standard of appearance. Approachable, friendly and patient. Ability to lead extra-curricular activities √ √ √ √ √ √ Professional Qualities A child-centred philosophy. A history of attendance and good √ √
Art and Walking Tours at the Aspen Institute Summer 2016 the legacy of herbert bayer recent gifts and loans to the institute Guided art tours led by Curator and Art Registrar Lissa Ballinger 11am -- noon June 16 | July 7 | August 4| August 11 September 15 Meet at Resnick Gallery | Doerr-Hosier Center 845 Meadows Road | Aspen, CO earth works and land art of herbert bayer Guided walking tours led by Landscape Architect Ann Mullins 11am -- noon June 9 | July 14 | July 28 August 18 |August 25 | September 8 Meet at Doerr-Hosier Center 845 Meadows Road | Aspen, CO HERBERT structure with two red squares, 1967/51s Painted 34 1⁄2 x 24 3⁄4 x 11 inches of the Tom family
Weekly Schedule for Art Time Period Monday Tuesday Wednesday Thursday Friday 7:30 -8:30 5th Grade Planning Brinson Bouchard Hawkins Shirah 8:35 -9:35 3rd Grade Avins Brunson Patterson Tisdale Vickers 9:40 -10:40 2nd Grade Burrows Tyner Planning Scott McClam 10:45 -11:45 4th Grade Odom Planning Hooks Evenich 11:45-12:30 Lunch planning Lunch planning Lunch planning Lunch planning Lunch planning 12:30 -12:55 Kindergarten Brown Alderman Stout Mixon Lane 1:00 -2:00 1st Grade Morris McGinnis Reardon
using different materials. To be able to work expressively with clay. Learn the spellings of the key words. GORMLEY, EXPRESSIVELY, SILHOUETTE. LP1/7 Gormley, expressive line/colour/clay work. To understand more about the artist Antony Gormley. To be able to work expressively with colour and line, using different materials. To be able to work expressively with clay. HW4 Homework booklet sheet 4- colour theory quiz sheet and colour wheel.2 pages. LP1/8 Hundertwasser building/pattern/colour. . To understand more about the artist Hundertwasser. To be able to work expressively with colour, pattern and line, using different materials. HW4 literacy the spellings of the key words. HUNDERTWASSER, ANALOGOUS, ANALYSE
Student name: Year group: 8 Subject: ART & DESIGN Milestone: (please circle below) 7 8 9 10 11 12 CIRLCE & DOTS Autumn term 1 At the end of KS3, my target in this subject in relation to what is expected in the National Curriculum should be: (circle or highlight below) Approaching Secure Secure Beyond Secure Excelling Personal Learning Checklist Through my learning this term I aim to develop the following Knowledge and Skills. Assessment of attainment (circle below: red, amber or green) Student Student Teacher YELLOW 1 I am inspired by art work and I can reproduce the work of others showing an understanding of the processes R A G R A G R A G YELLOW 5 I can observe shape and use line effectively to create accurate shapes. R A G R A G R A G YELLOW 6 I can vary my use of tone (shading light to dark is good quality) which makes my work look more realistic. R A G R A G R A G YELLOW 7 I have increasingly effective control when using media and materials, and make good quality work. R A G R A G R A G YELLOW 8 I can mix colours effectively create and use the colour wheel to inform my choices. Shading and blending might be visible. R A G R A G R A G YELLOW 9 I can identify and select relevant information to support my work through research R A G R A G R A G YELLOW 10 I am increasingly confident with experimentation and application of techniques. R A G R A G R A G YELLOW 12 I can experiment with a variety of materials and processes to select the best media for my work R A G R A G R A G YELLOW 13 I can creatively arrange objects/elements or pattern with success and I understand what makes a good composition. R A G R A G R A G YELLOW 14 I can evaluate and recognise mistakes in my practical work and strive to improve R A G R A G R A G YELLOW 15 My presentation is imaginative. R A G R A G R A G YELLOW 16 I can produce a final piece/practical work as a result of my research with increasing independence R A G R A G R A G The assessment boxes below are to be completed at the end of the milestone by your teacher: Overall your progress this half term has been: Slow Steady Good Rapid Overall your attainment this half term has been: Emerging Approaching Secure Secure Beyond Secure Excelling Attitude to learning: 1 2 3 4 WWW: EBI:
mood and form of the work. I can make clear and imaginative links between my work and the work of other artists. I can develop imaginative ideas for my own work based on my research. Refine I can evaluate my work critically showing a clear understanding of how I can improve it. I can improve my work with skill. I can take creative risks with a wide range of artistic materials and techniques appropriate to my personal intentions. I can develop a of imaginative and original ideas using different materials. Record I can record my ideas using a range of visual (photography drawing etc.) and other (annotation) methods. I can record my ideas using consistent and confident levels of technical skill to realise my intentions. Present I can create a, and personal final piece based on my research and preparatory studies. creative and original ways to create your studies. Review and refine your work with skill, and accuracy. Complete all MAD time targets to a high standard and (where appropriate) go beyond the expectations set by MAD time tasks. Record Demonstrate skilful levels of accuracy (where appropriate) to record the properties of images and objects in a wide range of media with skill, and originality. Record your ideas with skill and insight through annotation. Clearly explain your ideas using a wide range of complex art vocabulary appropriately.
Record I can record my ideas using a visual (photography drawing etc.) and other (annotation) methods. I can record my ideas using competent levels of technical skill to realise my intentions. Present I can create a personal final piece based on my research and preparatory studies. I can demonstrate consistent use of the formal elements to create a final piece. Show an Emerging – Competent ability to… Develop I can investigate the work of artists and designers relevant to my project. I can analyse the work of artists using art vocabulary and considering the content, context, process, mood and form of the work. Refine I can make basic links between my work and the work of other artists/ designers. I can experiment with some artistic materials and techniques appropriate to my personal intentions. Develop (Homework) Create a ‘Papel Picado’ mood board. Include images and detailed written notes. Refine Create a growing range of observational studies of objects relevant to your chosen sub theme. Experiment with using a range of media to create your studies. Review and refine your work. Complete all MAD time targets. Record Demonstrate accuracy (where appropriate) to record the properties of images and objects in a growing range of media. Record your ideas with skill through annotation. Explain your ideas using a range of art vocabulary appropriately.
Week of Sep 3 LABOR DAY Holiday, No Project No Project Due Week of Sept 10 12 Guidelines you can use on all your work to sharpen skills and improve your artistic abilities in photography work to sharpen skills and improve your artistic abilities in photography The 12 Elements of Professional Portrait Judging Project Due By Sunday Week of Sep 17 Portraiture of Yousuf Karsh Lighting for Texture Project Due By Sunday Week of Sep 24 Tutorial 25: Posing & Psychology Using S Curve, Rule of Thirds, Aesthetics of Composition Project Due By Sunday Week of Oct 1 Documentary Composition & Context: Tutorial 22; Tutorial 37:The Natural’Portrait Settings Environmental Portrait Photograph and document a custom or tradition Project Due By Sunday Week of Oct 8 Controlled Lighting.. The Chiaroscuro Concept Free to research the subject on your own Project Due By Sunday Week of Oct 15 Focus on the ‘Face Only’ in this assignment. Tutorial 30: Photoshop And The Portrait Mood Study Project Due By Sunday Week of Oct 22 Semester ends Aug 11 Professional Photo Critique Project Due By Saturday Aug 11th Week of Oct 29 Semester ends Nov 3, Grades Due
I can independently use and take creative risks with a very wide range of artistic materials and techniques appropriate to my personal intentions. I can develop a wide range of highly imaginative and original ideas using different materials. Record I can record my ideas using a wide range of visual (photography drawing etc.) and other (annotation) methods. I can record my ideas using the highest levels of technical skill to realise my intentions. Present I can create a meaningful, imaginative and personal final piece based on my research and preparatory studies. I can demonstrate an exceptional use of the formal elements to create a final piece. the shape, form and texture of complex objects from first and second hand sources. Show a confident - exceptional ability to… Develop I can investigate the work of artists and designers relevant to my work. I can analyse the work of other artists using a wide range of complex art vocabulary and showing clear understanding of the content, context, process, (Homework) Choose at least one artist whose work links to your chosen theme. Critically analyse the work of this artist using the green, orange and red Art critical analysis sheet questions to help you. Skilfully respond to a piece of artwork by your chosen artist using a similar material, technique, process and/or concept.
individualistic and masculine' activities in the generation and responsiveness and market orientation. This correlation was stronger for the German sample compared to sample Thai and Indonesian collectivist culture and feminine. For his part, Kirca et al. (2005) who find that managers should consider when implementing market orientation national cultural sensitivities, mainly in terms of 'hierarchical distance, and uncertainty avoidance. Culture can not always be a moderating variable in developing countries. Indeed, Hofstede, Dwairi (2004) finds the weak moderating role of national culture in the effect of market orientation on the performance of banks in Jordan. The relationship between market orientation and organizational performance is influenced by simply 'power distance' in Jordan, which is a result quite different in developed countries where weary Western literature claims that high power distance relationships hinder market orientation . This apparent contradiction is explained by the existence of another explanatory variable is 'the impact of stakeholders'. Indeed, the management of the banking industry, is strongly connected with social power in Jordan through social alliances in institutions in emerging markets. The integration of developing countries becomes imperative to complete the conceptual framework of market orientation (Burgess and Steenkamp, It becomes very obvious that it is not logical to make a simple generalization of empirical results of Western literature in emerging markets. The components of market orientation in developing countries Western literature has two main scales provide measures of market orientation, namely: Markor which corresponds to the behavioral perspective of jawoski and Kohli (1990) and Mktor on the Narver and cultural perspective Slater (1990). Markor gave three components: information generation, dissemination of information and response. Mktor about the components emerged along the literature adopting a cultural perspective were: customer orientation, competitor orientation, orientation distributor, supplier orientation and technology orientation. The reliability and validity of these scales will be studied in the context of emerging countries. Chelariu et al. (2002) examine the validity of the construct of market orientation in Côte d'Ivoire, using Markor and MKTOR and emit structures quite different from those original. They and sub dimensions of organizational response and customer orientation. Organizational response, also called, responsiveness to market intelligence, is divided into two sub-dimensions: design response and
We also detected some effects in MCI subtypes such Delayed Recall (β=-0.36, for (see Table 3.B) and, Learning (β=-1.37, p=5.815E-05) for Pss-aMCI (see Table 3.C). Table 3. Major results of AD loci linked to APOE in MCI endophenotypes by clinical subtypes. Endophenotypes N Locus/ snp β L95 U95 p-value 3.A MCI Total sample Learning 1243 APOE-ε4 -1.35 -1.95 -0.76 2.914E-06* Delayed Recall 1243 APOE-ε4 -0.76 -1.00 -0.51 4.095E-10* 1137 TOMM40-rs2075650 -0.64 -0.92 -0.34 9.159E-06* Recognition 1243 APOE-ε4 -0.58 -0.88 -0.27 9.665E-05* 3.B aMCI Learning 1243 APOE-ε4 -0.80 -1.37 -0.23 0.00427 Delayed Recall 1243 APOE-ε4 -0.36 -0.53 -0.18 2.959E-05* Recognition 1243 APOE-ε4 -0.36 -0.71 -0.02 0.029 3.C Pss-aMCI Learning 1243 APOE-ε4 -1.37 -2.07 -0.68 5.815E-05* Delayed Recall 1243 APOE-ε4 -0.36 -0.59 -0.12 0.0018 Recognition 1243 APOE-ε4 -0.43 -0.85 -0.02 0.0314 β: Beta; L-U95: confidence intervals 95% ; *Statistically significant after Bonferroni’s correction (p≤ 10-E-5).
Art and Design Whole School Curriculum Map 2017/2018 Autumn 1 Autumn 2 Spring 1 Spring 2 Summer 1 Summer 2 Reception Drawing, painting and printing – colours and colour mixing. Year 1 Drawing in pastel developed into 3D using clay Drawing developed into digital art – scale and proportion (additional) Observational drawings and paintings developed into printmaking Self-portraits – drawing and painting in charcoal, chalk, pastels and watercolours developed into digital art Drawing and painting - landscapes (additional) Drawing developed into 3D model using a range of materials (additional) Year 2 Drawings and painting of local area developed into printmaking Figure drawing with proportions using wooden figures developed into clay Drawing and painting developed into prints – fruit and vegetables (additional) Drawing and colour blending – landscapes including rivers and waterfalls (additional) Collage using papers, fabric materials, drift wood Year 3 Drawing – portraits (additional) Bacon/Giacometti 3D clay or textile structure Observational drawing of fossils developed into print Drawing – Scale and 3D effects (additional) Laura Carlin Painting on plaster, mosaics and digital mosaics Drawing and 3D modelling – wires and fabric (additional) Year 4 Drawing and painting – culture and aboriginal (additional) Drawing and painting of a still life in to 3D sculpture Drawing and collage – flags and monuments (additional) Abstract painting, relief paintings, large and small scale with texture Drawing developed into printmaking, rotating and translating images Year 5 Drawing - Portraits Drawing and painting into digital art (additional) Drawing and painting developed into abstract textured paintings – Space Art Painting developed into printmaking/collage and digital art Figure drawing developed into 3D sculpture – Wire models Year 6 Drawing and painting developed into digital art; developing sketchbook ideas- Camouflage pictures Painting inspired by - Picasso Drawing – portraits and modern art (additional) Inspiration portraits Drawing developed into collage - Landscapes Drawing developed into embroidery – Beach scenes
Year 3 6 Drawing Drawing Painting Digital Media Printing Collage History: Roman culture (Art, Literature architecture) Roman Empire – Impact on Britain Greeks Geography: World countries and countries in Europe Europe – Italy/ Greece Year 4 7 Drawing Drawing Painting Textiles 3-D Digital Media History: Tudors in the locality Anglo- Saxons and Scotts British Settlements Geography: World countries and countries in Europe Africa/ Egypt Year 5 8 Drawing Drawing Painting Digital Media Printing Collage History: Vikings and the struggle The Indus Valley Geography: World countries and major cities. North and South America Central Asia, Pakistan 9 Drawing Drawing Painting Digital Printing Collage History: Victorian Preston Industrial Revolution WW1 – Impact on Britain Aztecs Geography: Embed World and UK Countries. and South America (Mexico)
Company Information, and Activity Schedule Company Details Contact Company Name: ……… Name: ……… Address: ……… Function: ……… Country: ……… Telephone: ……… SME Status: yes/no E-Mail: ……… Key company information (i.e. size, turnover, structure, product portfolio overview): …….. Activity and Schedule Space Segment: Ground/Application (select one; in case of more segments involved, please list and explain) Development Phase(s): Definition, Technology, Product, Demonstration (delete as appropriate; in case of more development phases involved, please list and explain) Activity Planning: Intended Start Date: Year Intended Duration (months): xx Background and Motivation for the proposed development: ……..
TRL Technology Readiness Level (Space + Ground) SRL Service Readiness Level (Application) Space associated model Ground associated 1 Basic principles observed and reported Idea or concept NOT APPLICABLE 2 Technology concept and/or application formulated Concept supported by paper study Application/service concept formulated, market opportunities not yet addressed 3 Analytical and experimental critical function and/or characteristic Demonstrate feasibility Concept analysis performed and target market identified 4 Component and/or breadboard functional verification in laboratory environment Partial prototype Application/service verification in laboratory environment, market segment(s) and customers/users identified 5 Component and/or breadboard critical function verification in a relevant environment scaled EM Reduced scale prototype (for large pieces) Application/service verified using operational elements, customers/users not involved 6 Model demonstrating the critical functions of the element in a relevant environment full scale EM Full prototype to demonstrate functionality Demonstration of prototype in relevant environment, price policy identified 7 demonstrating the element performance for the operational environment QM / EQM / PFM Verified Product with final BOM, layouts, released software, full GUI, certifications, documentation Trials with to validate utilisation and business models 8 Actual system completed and accepted for flight (“flight qualified”) PFM / FM Validated Product in operation, and commercial ready Application/service completed and validated, commercial offer ready 9 Actual system “flight proven” through successful mission operations PFM / FM Product operationally deployed and used by paying customers Application/service operationally deployed and used by paying customers ANNEX 1 - Definition of Readiness Levels