Intelligent Looking - A critical thinking approach to reading images that develops imagination and creative risk taking

Your vision will become clear only when you look into your heart.  Who looks outside, dreams. Who looks inside awakens.
Carl Gustav Jung

Using images in the classroom is a powerful way of developing the imagination and accessing imaginative links with what we already know and have seen.  The mind wants to understand images and seeks to make meaning from them through looking and thinking.  While single images encourage a particular form of looking, to do with interpretation and making connections with what we already know, multiple images invite the viewer to make connections between the images and seek patterns across all the visual information. 

In the quote above, Jung hints at the importance of emotional intelligence and not just reason in the process of forming a viewpoint.

When we look at photographs we often do so based on our assumptions about the context of the image.  Our interpretation of meaning is therefore often constructed from our views of the world, our understanding of context, place and different cultures, social, historical and political events.  This is why we often find candid photographs easy to read, but created photographs (where the photographer works as an artist to invent and manipulate an invented world) are more difficult to interpret.  Similarly with the work of artists, we might need to know more about them, their ideas and the social or historical context in which the image was made, to help us understand what meaning we might make of their work, or what they may want us to see or understand.

Do not despise my opinion, when I remind you that it should not be hard for you to stop sometimes and look into the stains of walls, or the ashes of a fire, or clouds, or mud, or like things, in which if you consider them well, you will find really marvellous ideas.  The mind of the painter is stimulated to new discoveries, the composition of battles, of animals and men, various compositions of landscapes and monstrous things, such as devils and similar creations, which may bring you honour, because the mind is stimulated to new inventions by obscure things.

Leonardo da Vinci

Taken from the Codex urbinus latinus (from his treatise on painting – 1270 where he gives advice to painters)

In his book, Art in Mind – How contemporary images shape thought, (2005 University of Chicago Press) Ernst Van Alphen reflects on how art has the power to affect our thinking, changing not only the way we view and interact with the world, but also how we create it.  His reflections on Leonardo da Vinci help us understand his approach to painting not as expressive, intuitive, sensuous or emotional, but an intellectual one.  Others have described this process of seeing as a form of relaxed ‘out of focus’ looking where the mind seeks to identify and make patterns or identify images in the loose collection of marks and stains on a surface.  The brain seeks to make sense of what it sees, linking the imagination with previous experience.  Perhaps a little like the way we relax into looking at a ‘magic eye’ image where we search for the hidden image in the layer that floats in front of the seemingly complex or random pattern.

Reading images is therefore a thinking process that develops visual perception skills through carefully structured learning, to improve visual literacy and understanding.  To do this it will need to access a range of thinking skills including both intellectual reason and enquiry, but also the heart, through emotional intelligence.

The use of images is powerful as a stimulus to the imagination and to the making of creative connections, precisely because images enable each of us to share our thinking.  We also share some conventions in the way we read an image although we all read images is, slightly differently.  Reading images is also powerful as a way of developing critical thinking skills, by modelling this process through the shared looking and discussing of the images with others.

To help us develop these skills and the imagination to stimulate creative responses, we need to encourage ‘intelligent looking’.  To help us with this, we need to develop the skills and attitudes needed.  Engaging activities will develop the attitudes, but to develop the skills we can use thinking, writing and speaking tools and questioning approaches, such as:

·         Dialogic teaching to encourage paired and class talk;

·         5Ws (Who, What, Where, When and Why);

·         We can ask challenging open questions with stems such as ‘In What Way Might …..’;

·         We can analyse images using Rod Taylor’s model for analysis to explore the Content, Process, Form and Mood of an image;

·         We might explore an image to develop creative ideas generated by the imaginative processes indicated by the acronym SCAMPER (developed by Bob Eberle), such as: Substitute, Combine, Adapt, Modify/Magnify, Put to other use, Eliminate or Reverse; 

·         We can also structure our questioning using Bloom’s Taxonomy to provide high challenge, thought provoking questions and engender a sense of wonder.  These tools or approaches help us to focus more specifically on the different modes of intelligent looking.

·         NB. See more examples and detailed guidance in Effective Questioning guidance.

The 3 Modes of Intelligent Looking

1. Analytical looking and thinking

evidenced by the structure and process used by the artist/photographer to organise and present the elements that make up the image.  Slow and deep looking.  Access other modes to ensure the analysis is balanced.

2. Critical and contextual looking and thinking together

evidenced by the context in which the images are created, aware of classifications and the use of reason to explore the image, interaction with others to critically develop ideas and responses – metacognitive and aware of the thinking process to help identify meaning and inference.

3. Emotional looking and responding

evidenced by the mood, intuitive and sometimes rapid emotional response to e.g. colour, expression and content.  Links to meaning, interpretation and inference

A PROCESS  FOR  INTELLIGENT  LOOKING  &  CRITICAL  THINKING

1.    Consider your initial emotional response – what does this tell you? 2.    Start a dialogue with the image, articulate philosophical, political, social and formal questions, where you seek to answer or resolve these yourself or with others. 3.    Identify and explore the visual evidence, the content and recognizable people, places and objects - consider the meaning they express. 4.    Make connections - with other images, experiences and learning, or spontaneous unrelated connections - use your previous experience and knowledge. 5.    Express your thinking visually – use diagrams, lists, pictograms, text, notes etc. 6.    Explore the viewpoints of others - consider, discuss and perhaps agree. 7.    Think out loud - verbalize your thinking processes share this with your group. 8.    Consider all imaginative possibilities - there are no right and wrong views - share your explanations with others. 9.    Use enquiry and reason - but be aware of your own and others’ emotional responses. 10. Try to be precise and careful in your judgments, but don’t force an answer / viewpoint. 11. Weigh the views and reasons offered by others. 12. Search for the truth - but worry less about being right. 13. Be aware of your own prejudice and biases - when agreeing ideas and outcomes.

Encourage students to share their perception and understanding of the images or artworks they are viewing.  These processes encourage higher order thinking and develop the interpretation of subtle meaning and intentions within images.  Encourage the verbalizing of thinking.  You can use thinking, writing and speaking frames to model and develop skills. NB. Teachers should model the best use of language and their own thinking processes, when looking at or describing images.

The following table helps to explain some of the reflective, analytical and reasoning self-questioning processes that might be carried out within each of the three modes of Intelligent Looking.

MODE 1 - Analytical looking and thinking

n What kind of image? - eg portrait, landscape, reportage photograph n Composition - How are the parts organised? n Artistic elements - How has the artist used… line, tone, colour etc? n The process - What materials and how was it made? n Reflection on content - What can I see? List and describe? n Slow, careful and systematic looking - the whole picture and close-up areas?  What does it tell me?  What do I find out?

MODE 2 - Critical and contextual looking and thinking together

n What can I find out? - Children and teacher explore and share information about the artist, the period, the situation etc… n What questions do I ask myself and others? - eg 5Ws - find out more n What was the culture and context of the image? – Research more... n What is it about? - Identify ‘Meaning’ for me and others n What do others think? - Discuss and compare ideas on meaning n Aware of their own thinking process n How does it compare with other images? - similar genre, style, type... n Build on the ideas of others and their partial thoughts

MODE 3 - Emotional looking and responding

n What is my immediate response to the image? - my mood and reaction n How does my emotional response change? – is it the colour, style, genre, content?  Why? And what makes this change? n How do I feel about what is happening in the image? n How do I respond? – by thinking out loud, by drawing, by writing, by speaking or making some music…

Activity 1 - Sort and classify Images

■     Rich pictures and challenging images.

■     Emotional sort activity – Images of different lives and times e.g. Library of Congress, Imperial War Museum, Sebastião Salgado, Sirkka-Liisa Konttinen, Charlie White

Source and provide a selection of rich pictures or challenging photographic images.

■     Arrange these into sets of 10-15 images and provide a set for each pair of students.

■     Carry out classification activities and define a focus to each classification e.g. undefined classification, or photographic classifications such as image content, reportage, portrait, social and political history, etc.  Question where the boundaries of classifications exist and discuss issues for the photographer working as an artist or as a social commentator or journalist.  Engage in risky critical thinking, avoiding teaching from the front and acting as expert.  20-30mins. will be needed for the classification activity.

■     Encourage students to apply the principles as a form of checklist for the activities.

Activity 2 – Emotional classification using the principles of Intelligent Looking

To develop emotional intelligence, try also an emotional classification activity using the following 6 categories, or develop your own based on your selection of images. 

Selfishness	Anger	Jealousy
Respect	Pride	Honesty

I would suggest you select emotionally strong images from example websites e.g. Library of Congress, Imperial War Museum, Sebastião Salgado, Sirkka-Liisa Konttinen, Martin Parr, Charlie White, Dorothea Lange, Man Ray, Cindy Sherman.  Encourage students to place the images in the category that epitomizes or best describes their reading of the image or the main person in the image.

■     Extend thinking and use of these images by reviewing the Principles of Intelligent Looking.  Ensure students have considered or exploited all the Principles they consider helpful.

Activity 3 – Make connections and collaborate creatively

Making connections between photographs and collaborate on creating a written response e.g. Create something – poem, short story, description, 60 word story

■     Source a set of powerful images and provide 3 for each group of 3 students.  Carefully group the images beforehand to infer possible links.

■     Students discuss and make connections between the photographs before collaborating on creating a written or graphic response e.g. a poem, 60 word story, sketchbook images, collaborative drawing, storyboard, short film or animation script etc.  This may be based on the connections that link the images, the people in the images or from the way the group sequences the images into a possible narrative.

■     This risky activity takes time and will need careful structuring and management by the teacher to ensure the focus on an outcome is maintained.

■     Step 1 - Think independently - REFLECT - develop ideas and seek meanings through connections

■     Step 2 - Think together to share ideas - COMMUNICATE - share thinking, listen and make new connections and meanings through interpretation

■     Step 3 - Think critically and creatively – PROCESS & COLLABORATE - develop your ideas using what you think and feel, with purpose.

NB - Visual engagement informs the imagination and stimulates thinking. 

·         Scale is important – good reproductions on a scale to fill the field of vision and the mind. 

·         Use the interactive whiteboard and turn off the lights to help focus looking and thinking.

·         Set up opportunities for paired and group talk.

·         Make the purpose of each activity explicit.

·         Help students to think purposefully, by explaining the type of thinking at each stage ie critical, reflective, reasoned, analytical, comparative, classifying, imaginative, investigative, interpretative etc.

·         Complete activities in a suitably metacognitive way by reflecting on the learning and the type of thinking that was used.

Weblinks for sources of photographs you might use:

■     http://memory.loc.gov/ammem/index.html  American Memory at the Library of Congress

■     http://www.loc.gov/rr/print/catalog.html  Prints and photographs reading room

■     http://www.iwm.org.uk/server/show/nav.00100n  Imperial war museum online collection

■     http://www.iwmcollections.org.uk/onland/ Online photographic collections

■     http://www.masters-of-photography.com/ Great photographers

■     http://www.terra.com.br/sebastiaosalgado/  Salgado

■     http://www.amber-online.com/sections/photography/pages/side-photographic-collection  Amber online collection from Newcastle Amber photographic gallery

■     http://www.photonet.org.uk/index.php?latest  The Photographer’s gallery, London

■     http://www.vam.ac.uk/collections/photography/index.htmlThe V&A Photography Gallery

■     http://harrysproshop.com/Links/Great_Photographers/great_photographers.html Great photographers examples

Ged Gast  2009

Planning a scheme of work in art, craft and design

Art, Craft and Design - think piece 2

This is a first reflection on planning a scheme of work. There is much more thinking to come. It is intended to start the process of discussion and not as a final work in planning.

We must remember that the subject should develop students skills, knowledge and understanding through experiential and theoretical learning, that explores art, craft and design (the work of artists, craftspeople and designers from different times to contemporary practice, and from our own and other cultures). It should provide a blend of visual, tactile and sensory experiences that enable students to develop works that communicate ideas and meanings.

The other way of defining a breadth of experience is to plan a curriculum that sets out 6 key areas of experience, these are:

1. The perceptual (interpret and visually read and understand all things visual and experiential)
2. The conceptual (imagine and conceive of new ideas and meaning)
3. The practical (technical skills and competence to use media and techniques)
4. The critical (consider, analyse, compare and evaluate)
5. The cultural (respond to and understand cultural traditions, styles and genres)
6. The creative (imagine, innovate, respond and represent or express with originality and purpose)

The curriculum should ensure these learning experiences are gained through using both traditional media and new media. All students should be able to engage with works of art, craft and design as critically as observers and as creators.

 

We must also remember that The subject is called Art and Design. It is not called Art.

 

Dividing the blocks into projects or units

When planning a scheme of work at key stage 3, we might plan this as 9 x one term blocks of study
Alternatively, as 18 x half termly blocks/projects (6 per year)
The recent exemplars published as National Standards Exemplars, suggested projects of 2 x terms duration, but each made up from several closely related activities, sharing common themes, areas of investigation and concepts.

 

Different planning models

There are many different ways to order the learning in art and design and I am not sure if there is one correct model. However, the consequence of secondary art and design teams not get this right, will result in a potential lack of essential skill, knowledge or understanding.

 

We could start by asking "What do we expect all young people to know, understand and be able to do, by the time they take their last art and design lesson in year 9?"

 

Do we expect that they can draw, paint, make images with meaning and be able to appreciate a work of art? Or, do we also expect that they can design, have craft skills, be able to appreciate contemporary works of art as well as the work of other cultures? In, addition, do we have expectations of the quality of their skills, or their ability to use colour? And might we have expectations of their taste or judgement in things creative?

 

We have to be realistic. In one hour per week and with uncertain and inconsistent skills and experiences on entry to secondary school, we cannot expect to produce young people with the sophistication of the 'grand tour' and the awareness of a world of contemporary practice; despite the readily available access to a world of visual and creative information that the Internet has made accessible to us all.

 

How then should we begin to plan? Here are some of the most common starting points:

Areas of experience ie drawing, painting, 3D, print, digital, textiles.
Periods and genres ie Ancient Classical, Medieval, Renaissance, Baroque and Rococo, Neoclassicism, Modern art, Contemporary and Post Modern.
Different cultures eg Islamic, Aboriginal, African, Indian, Chinese etc.
Skills ie drawing from observation, memory and imagination; designing for a purpose, function and the aesthetic; making in 2 and 3 dimensions; creating for physical and virtual presentation;
The artistic elements ie line, tone shape, colour, texture, pattern, surface, form, space and composition.

 

Whichever of these we use, or whether we amalgamate all of these and other requirements, we still need to ensure that young people are visually literate and perceptive. Even if they do not become accomplished at drawing or painting, that they are able to appreciate and read an image, comprehend a sign, symbol or understand meaning and inference or some references in a work of art, craft and design.

How do we achieve balance in art, craft and design?
We know how important it is for young people to 'see the bigger picture' of Art. One aspect of this is to realise the breadth and scope of the subject. But we also know that it is not really just one subject. In the same way that DT references many different industries, so also does art, craft and design point to the creative and media industries, the design industries and craft industries. Work in any of these industries will more than likely mean you are self-employed, or work in a small group of partners (2-5 people). Very few creative industry companies are large communities.

How then do we provide access to an understanding of the diverse range and culture of each of the art, craft and design industries, how do we provide some sense of the history of these aspects and how do we set this within a contemporary industrialised context, so young people understand the wealth of employment opportunity available to them?

We could map and plan our curriculum to include several elements concurrently, such as:
Fine Art (area of experience), Painting (skill), Composition and study of an artist (knowledge and understanding), Cubism (genre), European art (culture).
Animation (area of experience), Design in digital media and process (knowledge and understanding), Photography and image manipulation (skill).
Print (area of experience), Mono-print (knowledge and understanding), Drawing, design and making (skill), Japanese wood cuts (culture).

 

 

But what do we expect students to know, understand and be able to do?
By the end of year 9, should students be able to:
Draw from observation, memory and imagination? But how well?
Paint and create an image from observation, memory and imagination? But how well and including what range of techniques?
Design for a purpose? But what range of purposes?
Develop craft skills, to make a functional object or outcome that they can use? But which craft skill and which medium? And how skilful should this be?
Be able to read and understand an image, artefact or creative outcome of any kind? But what might that include?
Be able to design and create outcomes in a variety of media? But which media and what range?
Be able to appreciate works of art, craft and design and use this to help them create their own work, with meaning?

Should students be able to:
Understand and use Perspective when drawing or designing? But what form of perspective and to what level of competence e.g. 2 point perspective, including a horizon.
Be able to create calm and dynamic compositions for different purposes?
Be able to plan and design a poster for a purpose?
Be able to engage intelligently and with respect for works in a gallery, museum, collection or online/virtual sources?
Be cultured - know and be able to identify works from the major periods or genres of art, craft and design - major cultures from across the world - major concepts or conventions.
Know how to read and understand signs and symbols, and to interpret meanings.
To understand basic colour theory and be able to mix colour for a purpose and context? But what level of knowledge and understanding is expected?

What we do know, is that this curriculum should be and entitlement for students and not the teacher. This will involve change every year and the curriculum will be an expanding and evolving range of experiences that build and reinforce skills, within changing contexts of culture, form and genre.

Students should achieve an appreciation and respect for the creative, media and design outcomes they engage with. They should learn how to apply the skills they have learnt and how to proceed with further study, or enjoy the visual arts as a leisure activity later in life. They need sufficient knowledge and understanding from their studies to know how to learn to read, understand and respond intelligently and emotionally within spiritual, moral, social and cultural contexts.

In summary, we do need to reflect on how we plan, as well as what we choose to include within the planning. I have said little yet about the taste, preferences and interests of the teachers themselves and how these may influences the choices they make. For example, we know that teachers will include artists in their scheme, that interest and engage them. For many reasons, this is a positive characteristic, as teachers will then communicate their love and enthusiasm for the subject to their students. However, where this can lead to a negative impact, is where these choices by the teacher lead to a disproportionate emphasis on certain artists, genres, styles or types of media in art and design.

This can become a particular issue when teachers do not choose to include, for example, digital media or sculpture in their curriculum, because they personally do not like the medium or feel they have the personal skills and confidence to teach it. This may be justified by suggesting that they cannot teach it without the right equipment, facilities or software. However, these reasons can become an excuse for non action and may be a way of avoiding the issue of planning a balanced curriculum. This may also lead to them not making a strong priority for these developments. They may not have built this into their development plan or CPD programme, for fear of having to act on the consequences of receiving funding and support for these developments. We may conclude that this is a form of prejudice, and has little to do with teaching a broad and balanced curriculum, a socially and culturally relevant curriculum, or a technically contemporary curriculum.

Whatever the reasons. Our curriculum has to reflect the national expectation, local context and needs of the students themselves. It has to reflect the traditions of the subject balanced with the needs of the 21st century, the interests and aspirations of the students.

What is going on in art and design with boys underachievement?

There are some fundamental problems here with the expectations we may hold about how art and design should be taught. These really are gender specific and may cause us to impose inappropriate expectations on some students, not because of attitude or ability, but because they are boys. Let us explore why this might be?

Many boys think and work creatively in a different way to girls. We can say that girls are more mature at this age and we can identify the willingness girls demonstrate to research thoroughly and be painstaking in the development of technique and ideas. We also know that most girls will select, mix and use colour with great care, they will develop pattern and create wonderfully decorative sketchbook pages. They will also search thoughtfully for examples of images to inform their ideas and then respond to the work of artists very positively, incorporating what they see and learn in the making of their own work. All of this seems true, perhaps it is a stereotypical representation, but we do know that many boys will be far less interested in taking this approach, not all, but most will. This may also seem the convention and expectation of the GCSE art and design specification, but it is NOT the only expectation, and it is NOT the only way that artists work. Many male artists and perhaps some female artists do not do these things or do them in this way. This is an interpretation of the specification. Changes in recent years to the Assessment Objectives and AO4 in particular were made precisely to address this and enable students (boys) to work in ways more suited to their personalities and gender preferences. Let us just explore what these differences are.

What do boys like?
They like:
learning by doing and making things;
being physical with their art and design;
tactile processes and consequently working more directly with physical or technical media;
using computers creatively or they can seem 'obsessive' in their interest in some by specific aspects of using ICT;
Designing for a purpose;
building a sense of value and meaning through direct engagement with the media;
making things - and using approaches that result in a tangible outcome that appears to have a real impact on their lives eg problem solving;
researching less, until they know the purpose driving their investigations and intentions;
not having to completely plan it before doing it;
starting with an outcome and allowing creative outcomes to actively gestate.
working out how to do it, with the resources and equipment to do the job;
guidance on 'how to', with specific examples of distinctive ways of designing, that they can choose to read when they are ready;
To be shown how artists and designers plan, draw and create in the way that they do, but to be able to make their own choices about how they use this information.

Most boys don't like:
A linear process that is over intellectualises things ie art for arts sake;
A lack of craft skill  ie interestingly, they don't see drawing for fine art as craft activity;
Designing several compositional, colour or technique studies prior to beginning an outcome;
Having to work out every aspect of their design, before they are allowed to begin to create or make their practical outcome.

Also:

Boys don't always want to engage with a thoughtful, investigative, ideas focused research and development phase prior to making.  Boys like to learn by doing and to grow ideas from the experience gained through the craft of making process. They want their ideas and understanding to be wrought from the physical act itself. This may seem like a caricature, but for many, it is true. They want to cut, tear, rip, shape, glue, fix, staple, join, form, build, cast, assemble, stack, pour, mark, outline, photograph, illustrate, capture, layer, animate, film, present, alter, design, solve problems, originate, show... Not that girls don't do this, but boys have to learn by doing it, not thinking about and planning how and when to do it. It is the physical act of doing these things that they enjoy. It makes sense to them.
Boys do not usually want to seek artistic references until they have tactile experiences that help them identify and clarify their ideas.  Otherwise ideas incubated too early tend to be superficial. Boys like process and enjoy the structure of a design process where the stages are made explicit, they welcome the strictures of the steps in a design and making process.
Girls on the other hand tend to enjoy a more abstract way of thinking, using references to artists work early in the development process to inform their visions for the outcome.  They are happy to leave their options open longer, enabling them to be more creative in the idea. They also tend to take greater care in the development and execution of their ideas, thereby improving their skills.
Girls also seem able to infer or deduce how to approach drawing and designing for specific purposes from a more limited amount of information provided to them by teachers.
Girls will also seek out the right materials to select and use for a designing or drawing activity, buys will not bother and will often use what is to hand. Teachers have to make boys use particular media and approaches to drawing/design, in order to get them to understand (through the experience) why this approach is better, or more successful. Girls are more willing to give it a go, and exercise greater discrimination in their choices.

Facts and speculation:
In 2011, girls achieved nearly 20% more art and design GCSE passes than boys.
There are predominantly more women teachers in art and design departments these days.
Many departments are now staffed entirely by female art and design teachers.
More girls opt for and take L2 and L3 courses in art and design than boys (over 60% of students are female).
Boys may need more male role models as teachers;
The art and design curriculum would seem to contain less design and craft now than at any time in the last 40 years.
Despite the world changing developments in digital media touching on every aspect of our daily visual lives, a high percentage of art and design departments still do not reflect these changes.
We may have an art and design curriculum that favours the interests and preferred learning approaches of girls rather than boys?
Many female art and design teachers are less interested in digital media, or in teaching heavy duty sculpture techniques.
We may be interpreting Assessment Objectives in a way that values characteristics more prevalent amongst girls than boys?
Women teachers probably teach differently to male teachers? And, as there are more of them, this may just be shifting the perceived expectations of what achievement and creativity should look like, or it may just be actually changing the emphasis on specialist activities within the curriculum.
In the same way that the lack of male role models has impacted adversely on boys reading, female art and design teachers may not be engaging boys in ways that promote and support their interests.
Boys might just be starting to believe the art curriculum is becoming feminised?
Boys need to be shown and made to try to work in particular ways.
Girls can respond to spoken guidance or provision of materials and invited to try it out.
Boys need convincing
Girls are willing to take a risk
Boys allow pride and previous success to get in the way of new developments
Girls are prepared to take risks in order to learn new approaches and progress in their ability.
Girls like - Interesting, engaging, motivating, stimulating, inspiring, exciting, motivating, 
Boys like -Physical, direct, immediate, worked, make, wrought, explore,  research, produce, model, investigate, experiment.

Other issues:
If we examine a benchmark in art and design achievement such as the GCSE qualification. We know there are many specialist endorsed and unendorsed variations on this qualification, including fine art, art and design, photography, applied art and design, lens and light based media, and graphic communications to name but a few. All of these courses use Assessment Objectives criteria to determine national standards and expectations, which should mean we share a national benchmark in art and design. But this is surely not true as we are aware of variations in emphasis between different Examination Boards and very significant variation in expectation across these different specialist courses. This is surely right as we cannot expect the same standard of drawing from a student achieving a B grade in Fine Art compared with a student gaining an equivalent B grade in Lens and light based media. These are different courses with subtlety different expectations..
One issue we face then, is whether our boys are entered for the correct qualification? Are they following the course the department offers, or are they taking the qualification they could achieve most highly in? We might also ask if this is a curriculum for the promotion of achievement of the student or the convenience of the school?
These questions are hard to answer in a period of diminishing option numbers for art and design and limiting school budgets. It would be tough to expect art and design teachers to teach their GCSE group with two or more options running concurrently, or would it? course entries do not need to be defined until the Autumn of the second year, so students could follow a generic programme with flexible opportunities to work in different media enabling them to define their interests and preferences. Then entered for the most suitable course within a limited range. If teachers have several option groups, then some degree of specification could be made to group options across the different groups, enabling teachers to teach to their specialist strengths, wherever possible.

What are the expectations for the range of a teachers skills in the subject?
Teachers are expected to be able to cover a wide range of specialisms in art and design. Our subject is a wide ranging one, encompassing art, craft and design. We have had nearly 500 different specialist degrees available in the subject over recent years Needless to say, the larger the art and design team you work in, the more specialised you can be and consequently, if you work in a team of 2 or 3, you are expected to be a bit of a generalist and able to cover all specialist areas up to year 9, and at least a couple of specialisms after that. If you trained in painting and drawing, you are expected to be able to teach 3D, graphics and textiles and digital media for example, and perhaps to cover a few of these at GCSE. If you don't feel sufficiently skilled, then what has your team done to request professional development for you? Or what have you done to skill yourself up?

This may sound tough, but it equates well with what has happened in most other subjects in the curriculum. We also know that the principles of creative and design working is consistent across the art and design specialisms. Being a degree qualified illustrator does not mean that you will only have to work within two dimensional media, you are employed as teacher of art and design and this includes - potentially, everything!

We also have both a problem and a blessing associated with our creative training. The rather mixed blessing is that we are all taught to be independent and individual. This is fantastic training for creativity, but does tend to mean we learn what we need and personally value for our own work. Our training is also more akin to the old style apprentice model and can be 'knowledge lite' This settles us into our own 'groove' and limits the broader training we could have gained in a more didactic course. This also means we can study one area throughout a 3 year degree and leave as a very specialist practitioner. The main downside to this experience is that it does not prepare us to be as broadly skilled as we need to be as a teacher of art and design. The other downside, is that our personal interests drive our creative interests and this can dictate to some extent what we provide as an experience for our students. Combine this with a lack of direction and specification within the KS3 scheme of work and content of our GCSE course, and we have a recipe for personal preference by the teaching team for the subject matter, media and focus of our courses. We must question whether what we teach is what interests and engages boys? And does the way we teach it engage and motivate them?
One question we can all ask ourself is:
If you were a 15 year old boy, would you enjoy your course?

The sketchbook orthodoxy results in a creative process, with thinking imaginatively as earlier steps, which girls seem to prefer doing but many boys struggle with, as their creative imagination has not fully been activated by the making process - this is why digital is good! It allows experimentation and modelling of ideas, which can be kept, saved and scrapped as you go.

For boys, talking with teachers about their ideas is a problem at early stages. They prefer to have tangible evidence of an outcome, which is why boys tend to insist on a single idea whereas girls opt to keep options open until ideas crystallise. This enables them to experiment and develop multiple options earlier.
Caricatures or true!

Design drawing is also a problem. Boys tend to apply existing approaches to drawing to all forms of design. So they will employ an approach suitable for observational drawing, when developing studies for large scale sculpture. This causes them to miss the physical and the kinaesthetic engagement necessary from the physical feedback from the experience of drawing on a large scale with chunky charcoal sticks or blocks on A1 scale. Girls will see the relevance of this approach more rapidly and with less direction than boys. Similarly with drawing for design. Boys prefer to be physical with the media, but have to be convinced that this is right before they will commit to it.

Ged Gast February 2012