mod visual_arts

PRIMARY
Visual Arts
Guidelines for Teachers of Students with
MODERATE
General Learning Disabilities

Introduction 3
Exemplars 46
Classroom planning 12
School planning 8
Contents

Guidelines Moderate General Learning Disabilities / Visual Arts / PRIMARY
These guidelines aim to facilitate access to the
Primary School Curriculum, Visual Arts, and to enable
the student with moderate general learning disabilities
to explore and make sense of the world in a fun and
enjoyable way.
In making art, the process of making is as valuable
as the final result.
The Primary School Curriculum, Visual Arts places
equal emphasis on making art and looking at and
responding to art. It presents a range of activities in
perceiving, exploring, responding to and appreciating
the visual world. Making art involves two-dimensional
and three-dimensional work in a range of media. In
making art, the process of making is as valuable as
the final result. This will require sensitivity on the part
of all adults facilitating the work of the student, whose
tentative exploratory efforts may be missed if there
is an over‑emphasis on ‘product’. The emphasis is
on exploring and experimenting with the expressive
possibilities of materials, tools and media and with the
choices they offer for different tasks.
Communicating about his/her work and, when
appropriate, the work of others is central to this
process and offers excellent opportunities for social
interaction and acknowledgement of achievement.
The expressive or making activities are complemented
by opportunities to see and make a personal response
to visual art forms of different styles and cultures.
The challenge to the teacher is to be alert to
individual needs and abilities and to ensure that
students are involved in a creative, rather than a
passive or imitative, way.
Visual arts activities enable the
student to communicate in a unique
way and to organise experiences,
ideas, feelings and imaginings in a
visible and tangible way.Through
drawing, painting, constructing and
inventing, the student is enabled to
assimilate, respond to, and make
sense of, his/her experience of
the world.
Through its emphasis on the
individuality and creativity of
each student’s work, the visual
arts curriculum serves to enhance
self-confidence and self-esteem in
the student. Instead of conformity,
it encourages risk-taking and
spontaneity and so celebrates
uniqueness.
Introduction

Visual arts education provides for creative and
aesthetic experiences, and helps the student to
acquire sensitivity to the visual, spatial and tactile
world. The development of perceptual awareness
helps the student with moderate general learning
disabilities to enjoy and interpret the visual
environment, and can facilitate learning in all areas
of the curriculum. Initial exploration of materials and
tools will be at a sensory level, and will require a high
level of adult support. This early sensory investigation
will overlap with the exploration of materials in other
curriculum areas, such as mathematics and science.
The development of manipulative skills will also have
a positive influence on learning in other subject
areas. By providing opportunities for self-expression,
the visual arts curriculum can also contribute to the
student’s language development and to his/her sense
of personal identity and self-esteem.
Some students with moderate general learning
disabilities will not get to the stage where realistic
representation is the main concern. Their visual arts
experience will be rooted in sensory awareness and
appreciation. The use of a wide range of multisensory
three-dimensional and two-dimensional materials
will be critical. The role of the teacher during the
art class is to challenge, motivate and support each
student to express understanding of his/her world in
a personal way. The challenge to the teacher is to be
alert to individual needs and abilities, and to ensure
that students are involved in a creative, rather than a
passive or imitative, way.
The Primary School Curriculum, Visual Arts
provides opportunities for:
sensory exploration and enjoyment
experimentation with a wide range of media and
materials
exploration of the elements of art
working in both 2D and 3D
creativity
investigation
designing
problem-solving
language development
social skills development.
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Overview of content
The Primary School Curriculum, Visual Arts suggests
the following as accessible media for expression,
through which the student can explore, respond to
and interpret the world visually:
drawing
paint and colour
print
clay
construction
fabric and fibre.
Drawing
Once the student becomes aware of the effects he/she
can create with mark-making, drawing becomes a
way of exploring and communicating understanding
of the real and the imaginary world. It is important
to recognise that there will be some overlap in the
development of drawing and writing. The random
marks and squiggles that can be seen in the student’s
early drawings are also the foundation for his/her early
forms of writing, and vice versa.
Access to a wide range of drawing materials, and
time to enjoy discovering their possibilities for visual
expression, are equally important.
Paint and colour
Paint is an ideal medium for developing the student’s
sensitivity to colour. It has tactile impact, is fluid
and easily mixed and applied, and its effects are
immediate. It is important that all students have
access to a wide range of paint and colouring
materials and tools, and opportunities to explore their
expressive possibilities. Colour awareness promotes
sensitivity to, and enjoyment of, colour in the student’s
surroundings, and is further enhanced when the
student has opportunities to look at the work of other
students and artists.
Print-making
Print-making activities provide additional opportunities
for extending the student’s range of expression,
developing awareness of the inter-relationships
between shapes and colours, and for experimenting
with cause-and-effect and pattern. They also draw
attention to the use of print in everyday objects.
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Activities range from simple single images to more
purposeful compositions, using a variety of colour,
shape and media.
Clay
Clay is a versatile, exciting medium for free imaginative
expression. Its plastic, malleable nature makes it
an ideal medium for learning about form. Students
begin to understand its inherent possibilities for
three‑dimensional expression as they model with it
and change it. It also allows them to explore texture
and pattern. Other malleable materials include
Play‑Doh and Plasticine. Working with malleable
materials promotes fine motor skills, by strengthening
fingers and hands. Students should have opportunities
to see and if possible to handle or touch pottery and
sculpture; but it will be equally important that they
have sufficient opportunities to explore clay without
undue pressure to produce a particular ‘finished’
product. Papier mâché is an additional medium for
expressing ideas in three dimensions. It complements
work in clay and is an additional way of exploring form.
Construction
Students enjoy exploring materials and objects
to see how they were put together and how they
work. Construction activities with a variety of three-
dimensional materials allow students to develop
spatial awareness and awareness of the qualities,
limitations and potential of materials. Building and
exploring with 3D materials allow the student to gain
an understanding of similar and contrasting shapes
and structures, rough and smooth textures, angular
and curved forms, drawn, painted and printed
surface decoration. Activities involving constructions
on both large and small scales lend themselves to
collaboration and group effort, and this can be a
valuable social experience for these students.
Fabric and fibre
Fabric and fibre are adaptable and enjoyable
media for creativity, and can be used to reinforce
understanding of colour and tone, shape and texture.
Students explore methods of changing the surface of
materials, creating new fabrics, and constructing with
fabric and fibre. Working with fabric and fibre offers
opportunities to develop important fine motor skills,
such as sticking, pasting or cutting with scissors.
It offers opportunities for choice and control, as
decisions are made about placing, moving or changing
various items.

Concepts and skills development
The visual arts activities suggested for the different
media help to develop awareness of the qualities of
line, shape, form, colour, texture, pattern and rhythm
and spatial organisation, and enable the student to
use them purposefully. The student’s attention is
drawn to them, informally and in context, as they
explore two-dimensional and three-dimensional work.
Through completing the strand units of the visual arts
curriculum, the student should be enabled to
An awareness of line
develop awareness that different movements make
different marks
experiment with the marks that can be made with
different drawing instruments
experiment with the marks that can be made on a
range of surfaces
begin to discover that lines can have a variety of
qualities and can make shapes
begin to discover that lines can have various
properties and can create patterns, textures or
movement
look closely at the linear qualities of objects in the
immediate surroundings
begin to represent familiar figures and objects with
free lines and shapes
develop personal symbols (a schema) to represent
familiar figures and objects visually.
An awareness of shape
become sensitive to shape in the visual and tactile
environment
become aware of outline shape, silhouette and
shadow shapes
experiment with shapes in compositions
in collage, print, drawing.
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An awareness of form
become aware of the three-dimensional nature of
form and of form in objects
form and volume in a toy, a box, an animal
observe objects from different angles
express understanding of form in clay
handle, feel, manipulate and begin to form clay
and other malleable materials
make impressions in clay, dough or plaster.
An awareness of colour
develop sensitivity to colour in his/her surroundings
recognise and mix primary colours
distinguish between obviously light and dark
colours
begin to analyse colours and mix them more
purposefully
use colour expressively and to create effects.
An awareness of texture
identify materials through sensory investigation
explore a range of contrasting substances using
the sense of touch
explore the relationship between how things feel
and how they look
make texture rubbings of natural and
manufactured objects
create variety in surface textures, using a range of
materials and tools
change texture of paint by adding substances.
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An awareness of pattern and rhythm
become aware of pattern and rhythm in his/her
visual surroundings
flowers, leaves, shells, markings on a stone,
railings, fields
become aware of repetition and pattern in his/her
work
in the repeated use of lines and shapes
become aware of pattern in the work of others
use materials to create patterns.
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An awareness of space
develop awareness of how people and objects take
up space
examine simple structures in the visual and
textural environment
begin to make basic structures
balance open and closed boxes on each other
begin to develop a practical understanding of
structure through construction activities
use art media to record what he/she perceives or
observes
begin to show relationships between objects and
figures in drawings.
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This section examines two aspects of the planning
process which are essential if the most effective
learning environment is to be established.
Curriculum planning
Organisational planning.
Much of the planning advice in the mainstream
curriculum can be applied to students. The following
ideas are extra considerations that may be useful in
planning a visual arts curriculum for students with
moderate general learning disabilities.
Curriculum planning
The issues that may need to be discussed as part of
the school’s planning for the visual arts include the
following.
The importance of visual arts education in the
school curriculum
A whole-school discussion on the importance of visual
arts in the development of the student would help
to clarify what teachers hope to achieve through the
medium of visual arts. The creative process which
students go through in making art, the possible
stages or patterns of development in their art, and
the importance of visual arts education as a way of
complementing other areas of learning, should be
among the topics discussed. The creative process is
emphasised, because a significant part of learning in
art occurs in student’s approaches to the task in hand,
and this may not be evident in the finished product. It
will also be important that teachers identify achievable
goals and objectives for their particular students.
Planning should ensure that all students are enabled
to participate in each of the strands of the visual arts
curriculum. Ways of facilitating those with additional
physical or sensory impairments will need particular
attention, as this may have implications for resources.
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School planning
Planning sections in the Primary
School Curriculum: Visual Arts,
Teacher Guidelines, pages 18-25
give advice on this aspect of
planning, some of which will also
be applicable when planning for
students with moderate general
learning disabilities.The following
sections outline some additional
aspects of planning that may need
to be considered.

A broad and balanced curriculum
Planning should ensure that all students have access
to a broad developmental programme. Theme based
activities may provide opportunities for students
to achieve the objectives of a number of strands
in the same activity. The school plan should also
ensure that the student experiences a variety of
materials, creative processes and techniques, and
that a balance between work in two-dimensional
and three-dimensional forms is maintained. School
planning should also provide for opportunities to see,
to reflect on, and to appreciate art forms from our
own and other cultures, whether at first hand or in
reproduction. The range of interests and aptitudes of
the students will influence the selection of activities
and topics.
Levels of expertise and staff members’ interests in the
visual arts will be important factors in implementing
the programme. Enthusiasm for the visual arts among
staff can be encouraged through the provision of a
wide range of interesting materials and facilitating
attendance at in-service courses and classes.
Students’ individual needs
In planning visual art activities, teachers need to
be alert to individual needs, and the ways in which
students
use and show understanding of the visual elements
handle and use materials
explore and control tools
communicate their feelings and responses to
materials, different media, and different activities
evaluate and modify their work
demonstrate an understanding of the work of
others.
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Enabling access for students with sensory and
physical impairment
All students should have access to activities that draw
on their creative and aesthetic potential. Activities
may need to be adapted to suit individual needs, and
should be appropriate to the students’ ability and
age. Extra planning will be needed to enable students
with sensory or physical impairments to participate to
their full potential. This may require the sourcing of
specific materials, for example dual-control training
scissors, which enable the adult to assist students as
they cut. These may be of benefit to students who
have difficulties with hand eye co-ordination, muscle
control, and background/foreground differentiation.
Some students may show signs of tactile
defensiveness when handling some materials, for
example wet paint or glue. Messy activities are fun and
offer sensory stimulation, which is very important, but
can be difficult for students with tactile defensiveness.
All staff members involved in facilitating the visual
arts programme will need to be fully aware of each
student’s likes and dislikes or anxieties.
The physical positioning of some students may also
be a critical factor in enabling full participation.
Certain aids and materials may be considered
necessary, in order to support full access for these
students, for example ‘lift and tilt’ tables. Advice
from other professionals, such as a physiotherapist,
an occupational therapist or a visiting teacher for
the blind is desirable when facilitating access to the
Primary School Curriculum, Visual Arts for some
students with moderate general learning disabilities.


Differing needs and abilities
In any class, students may be working to objectives
within a range of levels. Some students may need to
have certain areas of learning broken down further
into smaller units, while others may need greater
challenges in the same level of activity. They can be
challenged to stretch the possibilities of art activities
to the fullest by adopting new methods, in directed
and experimental tasks. Brief one-session art activities
may be more suitable for a student with a short
attention span, while for other students a sustained
exploration of one area may be more satisfactory than
a superficial exploration of several. With support,
interest and praise for their efforts, students will
respond enthusiastically to activities in the visual arts
programme.
Planning for linkage and integration
Activities that integrate the visual arts with other
subjects should be planned to extend students’
understanding of both art and other subjects.
Integrated arts activities should be planned in parallel,
and should interact with other subjects, rather than be
subsumed in them.
Developing an assessment policy
Assessment is an integral part of the teaching and
learning process in visual arts education: teachers
continuously assess students’ learning and their
own teaching strategies as they observe, discuss
and make judgements on work in progress and on
completed work. As a way of observing teachers’
and students’ performance, assessment makes an
important contribution to the overall evaluation of the
art programme’s effectiveness.
It is important to have an agreed approach on how
students’ performance is assessed. In the process
of making and responding to art, the student may
demonstrate qualities, such as inventiveness and
imagination, that may not be evident in a finished
piece of work. Areas for assessment could include
the student’s ability to choose and use materials,
tools, and media, his/her response to art works,
the student’s approach to, and level of involvement
with, his/her work, and how he/she contributes and
co‑operates in group tasks.
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Organisational planning
Developing a shared sense of purpose for visual
arts education
The school plan for visual arts is the shared
responsibility of the principal and teaching staff. Both
the planning process and the written programme will
provide the teacher with a valuable policy document
and a clear sense of direction and purpose. Some staff
members may have expertise in different areas of the
visual arts curriculum, while others are keen to learn
new skills and strategies. While one does not need
to be an expert to teach art, these members are a
valuable resource in terms of
sharing ideas and useful information on materials
identifying, making and sharing resources
their role as information agents
their key role in any discussion that examines
the needs of the student with moderate general
learning disabilities in relation to visual arts.
Small strategic steps can be taken that encourage
enthusiasm among staff:
opportunities for art skills and knowledge
development should be made available
adequate provision of a wide range of materials will
promote interest
if the school does not have an art room, an area in
each class or a general area should be set aside for
storing paper, paints, clay, etc.
Creating and maintaining an attractive school
environment by displaying works of art will allow the
student to develop ownership and pride in his/her
work and seek to communicate about it. Imaginative
displays of students’ work around the school can
greatly increase the morale of students, parents and
teachers alike and can create a vibrant, attractive
atmosphere in the school. It will be important that
students themselves are involved in this process,
and that displays are regularly updated—Our gallery,
Artists in our school—signifying and confirming the
importance and value of art. Displays need not always
be confined to the classroom walls. On occasion, the
student’s art may be used for graphic purposes in
newsletters, the school calendar, on handbooks, and
school greeting cards.
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School policy will also identify how work will be
stored for recording and assessment, for example in
portfolios.
Identifying support for implementation
The student’s interest in art can be stimulated by visits
to galleries, museums and exhibitions and, where
possible, to artists and craftspeople at work. It is
important that they have a sense of the importance of
visually creative people in the community. Preparation
and follow-up activities are essential to ensure that
they derive the maximum benefit from any visit. Issues
or questions regarding transport, wheelchair access,
extra human resources needed and health and safety
issues will need to be addressed also.
The Primary School Curriculum: Visual Arts, Teacher
Guidelines, page 24, outlines many sources of support
for implementing the visual arts programme. Among
those identified are parents, artist-in-residence
schemes, museums and galleries, craft centres,
libraries, television and video, information and
communication technologies, and education centres.
Consideration must be given to the fact that students
with moderate general learning disabilities often have
more limited interaction with the community than their
peer group. Therefore, it is important to extend the
learning environment beyond the classroom.
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Planning for differentiation in
visual arts
Teachers may find it useful to access the Guidelines
for Teachers of Students with Mild General Learning
Disabilities: Visual Arts (pp. 18-21) where the stages
of art development are outlined. The student with a
moderate general learning disability will not always
develop at the same pace as his/her mainstream
peers. However, the chronological stages outlined will
provide a useful baseline tool for understanding where
the student is in his/her development. Guidelines
for Teachers of Students with Severe and Profound
General Learning Disabilities: Visual Arts will also be
useful for teachers of students at the earlier stages of
development.
Practical experience by teachers in handling materials
and tools is essential to understanding their expressive
possibilities, and the challenges they pose for students
at the different stages. Teachers need to plan for a
wide range of activities. Students need to experience
a balance between working on familiar activities, in
which they express themselves with confidence, and
new activities that present them with new challenges.
They will require plenty of practice to develop new
skills, and should revisit techniques, topics and strand
units. The transition between stages is not always
clear; and while students often appear to ‘plateau’ at a
particular stage of development, their experiences can
be broadened by providing them with access to a wide
range of media.
Systematic planning by the teacher for the
development of concepts, skills and attitudes, and
their assessment within a lesson or unit of work, will
be vital for the success of the visual arts programme.
The successful art learning experience requires
considerable organisation and planning. It is necessary
to plan just what is to be learned and how the learning
will happen.
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Classroom planning
It is important that teachers have
some understanding of the stages
of development in art, even if
progress takes a long time to
emerge, which may be the case
with many students with moderate
general learning disabilities.
He/she needs to be able to identify
the stage that students are at,
in order to plan appropriate art
experiences to meet individual
learning needs.

What is to be learned, and how this learning will be
achieved, involves the interplay of
the stage of development of the student
the elements of the curriculum that are to be
addressed
the stimulus from which learning is to happen
the strand that will be explored
the context in which the learning will happen.
Using materials and tools as
stimulus
Focussing on the visual and tactile qualities of
materials and tools can be an exciting starting point
for an art activity. Students need to handle and
manipulate a wide range of materials on a regular
basis, in order to learn to use them with confidence.
The discoveries they make are a vital part of their
development in making and responding to art, and
lead to increasing control in using materials and tools.
When they are presented with new materials for the
first time, it is important to allow students plenty of
time to explore their properties, and to discover what
possibilities they offer.
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Linkage
Linkage in the visual arts occurs both within
strands and between strands, and emphasises the
inter‑related nature of art activities. It occurs
in the provision of complementary activities in
making and looking and responding
in a mixed-media approach to developing a piece
of work that uses a variety of materials, for example
combining print, rubbings and paint in a collage
in exploring a theme through a number of strands.
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Integration
While it is important that visual arts be regarded
as a subject in its own right, it also presents new
ways of developing skills in many other areas of the
curriculum. In particular, visual arts provides the
student with opportunities to
Develop fine-motor skills and hand-eye
co‑ordination, and to develop control of
materials, tools and techniques
use scissors, brushes, rollers, glue-sticks
stay within the limits of a page
squeeze or roll wet and dry clay or papier mâché
control the amount of glue or paint that he/she
applies to a sheet of paper
thread painted pasta to make necklaces.
Develop mathematical skills
experience and explore colour, form, shape, space,
texture, and pattern
identify and follow adult directions to create
shapes; choose and name colours used, or to be
used, in activity; follow adult directions in creating
patterns, e.g. printing
recognise the need for ‘more’ or ‘less’
in adding water to paste/paint
use one-to-one correspondence and recognise the
need for counting
distributing brushes and sheets of paper
match materials with their correct locations
locating materials/returning materials during
tidy‑up
copy a sequence of actions
develop spatial awareness through making small-
scale and large-scale constructions
explore ‘cause and effect’
develop problem-solving skills.
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Develop communication and language skills
respond in a variety of ways to what he/she sees,
hears, smells, touches and feels in another context
describe colours used, materials used, and
processes involved
use language to make choices and express needs
in relation to materials needed
use language to predict outcomes of activities
communicate about work in progress
recall past or finished activities, using sequencing
skills (first, next, then)
use language to communicate ideas, likes, and
dislikes.
Develop social skills by being provided with new
contexts in which they work individually and
collaboratively
wait for his/her turn when materials are being
distributed, take responsibility for distributing tools
and materials
share materials
indicate own needs in relation to materials, show
sensitivity to the needs of others, show others how
to do tasks
seek adult help, appropriately and as necessary
initiate activities
suggest solutions to problems
recognise the start and finish of activities
respond to requests to tidy up, take responsibility
for tidying up
show pleasure and interest in tasks, give and
receive compliments, value and assess their own
and others’ achievements, identify own work,
admire class displays.
Develop ICT skills
access art programs on the computer, using the
conventional mouse or other devices; rollerballs,
touch-screens, concept keyboards.
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Drawing
The student should be enabled to
develop awareness that different movements make different marks.
Phase 1 Phase 2 Phase 3
Show awareness that movements
result in a mark: use fingers to
draw in sand, flour and mud, make
random marks with an implement
in sand or clay.
Grip pen or crayon using palm of
hand and use ‘grasp and push’
actions with chalks, wax crayons,
thick marker pens or sturdy pencils.
Scribble freely: make large and
random strokes with a wide range
of graphic materials.
Use pincer grip to hold drawing
materials and scribble with some
direction: scribble spontaneously in
a horizontal or vertical direction.
Use pincer grip to hold drawing
materials and scribble with intent:
scribble purposefully in a horizontal
or vertical direction.
experiment with the marks that can be made with different drawing instruments.
Make random marks,
experimenting with the sides as well
as the ends of graphic materials in
chunky stick forms: thick chalks,
stubby wax crayons.
Use art media that present
opportunities for developing fine
motor control: colouring pencils
and crayons of different thickness:
draw mainly dots, lines, squiggles
and circles.
Discover tones by varying the
pressure with sensitive materials
and by using light and dark pencils,
crayons, pastels, charcoals.
Explore the mark-making
possibilities of computer
drawing tools.
experiment with the marks that can be made on a range of surfaces.
Have opportunities to use and
explore crayons, soft pencils, chalks
on a range of coloured paper.
Experiment with the marks and
rubbings that can be made by
objects of various textures: make
marks with hard crayon and with
soft crayon, make rubbings of
various textured surfaces.
Work on a range of surfaces: sugar
paper, blotting paper, waxed paper
and cardboard.
Show awareness of various
media by adjusting marks and
choosing implements to suit a
range of textured and coloured
backgrounds: cartridge paper,
newsprint, coloured papers, tissue
paper, wood, fabric, plastic and
card.

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discover that lines can make shapes.
Become aware of the shape of
silhouettes and shadows cast
by people and objects: observe
shadows of people and objects on a
sunny day, move around and watch
own shadow.
Relate the shape of shadows and
silhouettes to the people and
objects that make them: look from
person/object to projected image,
show smile of recognition for
familiar shadow or silhouette, with
some help identify what is being
projected by its outline.
Produce, with adult help,
continuous lines and circular lines:
scribble lines using one crayon,
using a bundle of crayons wrapped
in masking tape, scribble patterns
using two hands.
Experiment with the shape of
shadows and silhouettes of
people and objects: using torch or
projector in darkened room, hold
up parts of the body/objects to be
projected, draw around silhouettes.
Experiment with the marks and
rubbings that can be made by
objects of various textures: make
marks with hard crayon and with
soft crayon, make rubbings of
various textured surfaces.
Show recognition of the relationship
between how things feel and how
they look: show anticipation of what
will feel soft/prickly, relate some
textured surfaces to rubbings taken
from them.
Draw lines and shapes while
holding as many crayons as he/she
can fit in his/her hand.
Trace over/copy, with necessary
help: horizontal and vertical strokes,
circles, wavy lines, zigzag lines.
Draw independently: circles,
crosses, wavy lines, zigzag lines.
Draw, with help, round simple
templates.
Combine lines and closed shapes.
Produce a range of shapes: circle,
square, triangle.
Use a computer art program to
experiment with lines: using mouse,
single switch, touch screen or
keyboard.

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attribute meaning to own marks, drawings or scribbles.
Communicate to adults or peers
about the marks and scribbles he/
she makes by vocalisation, gesture,
pointing.
Show interest in making drawings
of familiar objects: look from
real object to adult’s drawing
while drawing is being done,
show interest in helping to make
drawings of familiar objects/people.
Ask adult to draw person/object
that interests him/her favourite toy/
person.
Point to self/object or answer/sign
‘Daddy’ when asked about his/her
drawing.
Convey information by producing
simple pictorial forms: draw a
house.
Name/sign items on own drawings:
door, window, chimney, mammy.
Draw from his/her imagination and
attribute meaning to the drawing:
show drawing and communicate,
verbally or non-verbally, what it is
meant to represent.
create drawings that indicate the emergence of symbolic representation.
Draw around the shadow of
a person/object on pavement
with coloured chalk, with adult
assistance: feeling the outline of the
object or person and then feeling
the outline of the drawing.
Begin to create symbols that are
recognisable: use a circle and lines
to represent a person (a tadpole
person), create drawings where
shapes and figures appear to float
in space on the page.
Produce a range of shapes and
sometimes combine them, for
example, to produce a sun, a
house.
Draw figures that include more
details: arms, legs, hands, fingers.
Begin to include more complex
detail in his/her drawings: windows,
doors and chimneys on houses/
nose, ears on figures.
Draw figures that are grounded and
use lines for ground and the sky.
Start to produce visual narratives.

18
look at, and communicate about, his/her work and the work of other students.
Looking and responding
Respond to verbal and physical
prompts of adult to experiment with
drawing implements.
Express pleasure/displeasure
during an activity.
Look at, and feel, own work.
Begin to develop sense of
ownership of his/her own work:
seek to bring work home, or show
work to other adults in school.
Respond to adult’s reaction to his/
her work: smile when given praise.
Recognise that he/she has finished
task: put completed sheet in his/her
folder.
Recognise own work in class
displays: pick out own work
independently from x number of
pieces.
Communicate and interact with
others during task: recognise
similarities and differences in his/
her own work and that of peers.
Indicate likes and dislikes.
Look at, and appreciate, the work
of other students: watch other
students as they draw, participate in
games of identifying each student’s
work.
Respond appropriately to
comments made on his/her work.
Have opportunities to look at
drawings by artists: cartoons,
illustrations in story books.
Communicate about his/her own
work: seek admiration for his/her
own work.
Accept or reject suggestions from
adults/peers about his/her own
work.
Review his/her own work during
activity or when task is completed:
describe what is happening in the
drawing, indicate what he/she has
changed or would like to change or
develop, decide what to include in
own personal portfolio.
Show curiosity about the work of
other students.
Show curiosity about, and ask to
look at, the work of artists: ask to
look again at cartoon books, book
illustrations, show interest and
appreciation when taken to galleries
and exhibitions.

19
Paint and colour
experiment with the fluid properties of paint.
Use all available senses to explore
a range of non-toxic water-based
paints: experience hands and feet
being painted, react to feel of paint
on hands and fingers or other parts
of body, move part of body on
page with decreasing help, watch
colourful marks being made by self/
other students/adults.
Make hand and feet prints, with
adult prompting: use finger paints,
watercolours and powder paint,
observe the different marks he/she
makes on paper.
Use hands as tools for his/her work:
by dripping, pouring, splashing,
spreading fingers and dragging
through different colours and
textures of paint to make marks
and prints.
Show initiative in experimenting
with colour when painting with
fingers/hands/feet: use a number
of colours, mix colours on the page,
show preference for certain colour
or colours.
experiment with marks made by paint.
Have opportunities to experiment
further with finger/hand painting
using different coloured
backgrounds, different textured
backgrounds (corrugated
cardboard, glass, plastic, bubble
wrap) and using textured paint:
thickened with sawdust, glue, sand,
rice.
Use large motor movements, either
random or circular.
Develop ‘grasp and push’ action
with sturdy brushes or objects, for
example, toy cars dipped in paint.
Use fingers and a range of tools
to make marks in paint: sticks,
sponges and a range of brushes.
Use rollers to make marks with
paint on a range of textured
surfaces: move roller backwards
and forwards, put two colours on a
roller, one on each side and roll.
Begin to show control of a range of
brushes using thickly mixed paints:
make reasonable effort to stay
within the limits of the paper and
keep the page steady.

20
develop awareness of colour.
Become aware of colour in
the visual environment: have
opportunities to experience colour
theme days, where everyone wears
a certain colour, participate in
representing one chosen colour
with as many media as possible.
Explore colour with a variety
of materials and media: paint,
crayons, chalks, coloured pencils,
markers.
Show interest in colour in the
natural and manufactured
environment: gather brightly
coloured objects, show preference
for certain colours.
Mix colours to achieve a new colour
or shade: mix a range of primary
colours from a limited palette.
Mix colours, using a range of
secondary colours. Begin to
distinguish between lighter and
darker colours: mix tints and
shades by using white to lighten
and the original colour to darken.
Show curiosity about colour in
natural and manufactured objects
and interpret them in his/her work:
make a good effort to interpret the
colour of the sea, trees, house, car,
etc. when representing it through
art.
Use a computer art program to
experiment with colour and to
create images: using mouse, single
switch, touch screen.
discover a range of paint effects.
with a variety of painting
techniques: use sponges, wet and
dry brushes, paint on smooth/
textured surfaces, use coloured
paper, use paint on wet paper, on a
partially waxed surface, on papier
mâché, use thickened paint, paint
by spattering/dripping/blowing, use
wet or dry roller.
Have opportunities to discover the
effects created when paint colours
are mixed.
Change texture of paint by scraping
(comb painting) or by adding
substances: impress objects into
thickly painted surfaces.
Have opportunities to explore and
experiment with different kinds of
paint and paint techniques: bubble/
wax-resist/comb/string/blow/string/
spatter/fold-over painting.
Respond to reminders to
experiment with colours and effects.
With decreasing help, experiment
with paint on different surfaces:
a variety of coloured, smooth and
textured papers, tissue, hand-made
paper, plaster of Paris.
Apply different paint effects to
fabrics: paint with dyes, inks
or fabric paints on textiles,
anticipate effects of using different
substances.
Anticipate changes created by
using different paint effects.

21
add colour to shapes and pictures, developing control over a range of implements.
Paint large, clearly-outlined
shapes on paper: covering shape
completely with adult prompting
and assistance.
Cut out, with adult assistance, and
paint simple shapes: respond to
adult instructions to cover hearts,
stars, leaves etc. completely.
Paint a smaller area or picture:
with increasing control and co-
ordination, generally staying within
the outside limits.
paint from observation.
Have opportunities to observe
his/her reflection in a mirror: hear
language associated with colour of
body parts—blue eyes, brown hair,
show interest in adult drawing his/
her picture.
Experiment, with adult assistance,
in creating a self-portrait: use some
colours appropriately, show interest
in difference between his/her
portrait and that of peers.
Paint portraits of classmates: using
some colours appropriately.
Paint objects chosen for their colour
possibilities: flowers and other
objects from the nature table.

22
look at, and communicate about, his/her work.
React to various media: enjoy
having hands/feet in paint.
Have own vocal and physical
responses to objects and activities
responded to by adults.
Respond to the verbal prompts
of the adult to experiment with
materials and tools.
Use own language method to
express needs in relation to
materials and tools required for
painting: vocalising, verbalising,
signing, gesturing.
Recognise that he/she has finished
task: put sheets to dry on painting
trolley.
Look at and feel his/her own work.
Follow a sequence of techniques/
actions with materials and tools
demonstrated by another adult
action.
Choose and name/sign colours
for use.
Review work, recalling sequence
of operations with prompts from
teacher.
Describe what is happening in the
painting: the colours used, how he/
she enjoyed making them, his/her
favourite part.
Demonstrate and understand that
different techniques, tools and
materials create different effects:
choose to make marks with a
sponge rather than a brush, change
the picture as he/she works.
Recall and describe activities
already engaged in: first, next…

23
look at, and communicate about, the work of other students.
Observe other students as they
work.
Recognise and select own work
from that of others.
Communicate about another
student’s work: verbally/using sign/
symbols.
Communicate appropriately,
verball or non-verbally, acceptance
or rejection of suggestions from
peers and/or staff: exchange
compliments, express appreciation.
look at, and communicate about, the work of other artists.
pictures in story books: use all of
his/her senses to explore pictures,
show preference for one painting
rather than another.
Choose to look at colourful
illustrations and cartoons in books,
comics: attend to detail in artist’s
work.
work of famous artists. Begin to
recognise the similarities between
their work and the work of artists:
student’s work and work of artist
are displayed side by side.
Observe artist’s use of colour:
bright/dark colours.

24
Print
experiment with the effects that can be achieved with simple print-making techniques.
Making prints
with, and communicate about,
prints made with parts of the body:
identify what part of body has
been used, vary print patterns and
colours, communicate that prints
made belong to him/her.
Impress images or objects into a
slab of clay/Plasticine: sponges,
Lego bricks, ends of tubes.
with ‘cause-effect’ printing,
using printing ink and natural or
manufactured objects that have
interesting textures or shapes
(using a limited colour range to
focus on texture, and shape):
use Lego bricks, sponges, natural
materials on coloured or textured
surfaces, for example corrugated
cardboard, bubble wrap, etc.
Making prints
With decreasing assistance, take
prints off surfaces: rubbings from
tiles, tree bark, ceramic tiles,
different surfaces in the classroom.
Explore ‘cause-effect’ printing
further, beginning to organise the
print marks purposefully, with one
or two print colours (limited colour
range) to help focus on texture,
shape and pattern.
Begin to make decisions about
what colour ink to use.
Begin to make choices: colour of
ink, printing tools.
Making prints
Participate in a class nature walk,
and make a record of the walk
by making rubbings of different
textures along the way.
Discover how simple prints
can be further developed (e.g.
overprinting): overprinting with
contrasting colours and with
the same or contrasting shapes,
overlapping or placing shapes side
by side, using an expanding colour
range to create more complex
images.

25
use a variety of printmaking techniques.
Print with sponge shapes.
Sponge paint over stencils.
Paint on textured surfaces and, with
adult assistance, take a print from
it: bubblewrap, bark, corrugated
cardboard.
Make a variety of relief prints: from
textured items pressed into a slab
of clay, from his/her own marks
made in the clay, from cut or torn
pieces of thin polystyrene, potato,
apple.
Have opportunities to repeat and
combine examples of one or more
prints.
Explore wax-crayon transfers, using
paper and pencil.
Make pictorial rubbings: shapes
or coins placed randomly under
translucent paper and rubbed
with the side of a dark crayon.
(Integration: Mathematics)
Make a variety of relief prints:
composing a relief print block,
using one or more colours, creating
a design for a print by drawing thick
and thin lines into a slab of clay.
Make repeating patterns with
printing blocks on paper, card or
fabric.
Make a variety of small-scale relief
prints: stamp printing, creating
interesting patterns and rhythms by
juxtaposing stamps.
Make pictorial rubbings by drawing,
cutting out and arranging shapes
(abstract or theme based).
Make pictorial rubbings of relief
print blocks.
Make stencils: have opportunities
to experiment with use of rollers,
brushes, sponges, spray paint,
printing inks and stencils to create
surface prints.
Make mono-prints, emphasising
line and shape.
Experiment with increasingly
complex repeated patterns using
blocks: making original printing
blocks (carving potato, soap, string
on wood), emphasising line, shape,
texture, pattern.
Print with mask-outs: masking
areas of an inked surface, from
which prints have already been
taken, and taking a further print.
Use a widening range of print-
making techniques to make theme-
bases or non-representational
prints: Christmas/Halloween motifs.
Make stencils: spray or sponge
painting over stencils cut/torn to
his/her design.

26
make prints for functional uses (as well as for their own sake).
Make prints, with adult assistance,
to decorate his/her folder, or make
a decorative border for desk/
classroom.
Make prints, with decreasing adult
assistance, for functional uses:
decorate his/her individual work
sheets, storage boxes or book
covers, make wrapping paper,
decorate fabric (choice of colour/
shape is limited at this stage in
order to focus on simple pattern-
making).
Make posters for a school event:
make big, bold letters and numbers
using a wider range of colours and
shapes.
Use computer programs in shape
and colour to design and print
cards for special events: using
single switch, mouse, touch screen
or keyboard.

27
Look at, and handle, natural
and manufactured objects for
experience of texture, shape and
pattern: holding, feeling, looking
at shells, feathers, leaves, petals,
bark, twigs, fabrics.
Express pleasure/displeasure
during activity.
Look at, and feel, his/her own work
and communicate that prints made
belong to him/her.
Respond to adult’s reaction to his/
her work: smile when given praise,
seek to bring work home.
Demonstrate an understanding that
different techniques, tools, and
materials create different effects:
choose to make marks with a
cardboard tube rather than a block.
Show interest in exploring patterns
in his/her environment: move
hands over textured wall tile, smell
and feel leather product, observe
the colours and textures of papier
mâché masks.
Show confidence and enjoyment in
the creation of patterns and prints.
her work and that of peers, accept
or reject comments from adults/
peers about his/her work.
Describe/communicate about the
print: line, shape, texture, pattern,
what he/she likes about the print,
how he/she enjoyed making them.
Begin to indicate likes/dislikes for
certain materials.
Participate in collecting interesting
printed objects for display: pottery,
clothes.
Practise techniques and processes
of cause and effect in changing
colour, texture, etc.
Develop greater independence and
awareness of appropriateness of
materials.
Look at some examples of simple
printed design in everyday use:
commercially produced print
materials: party invitations, posters,
wallpaper, fabrics with simple
repeat or other design, packaging,
wrapping paper.
Compare commercial stencils and
mono-prints with his/her work.

28
Clay
explore and discover the properties of clay.
Developing form in clay
Have opportunities to experience
soft, malleable materials:
squeezing, flattening, pinching,
pounding, poking fingers into clay,
rolling soft dough/pastry between
hands or on a surface.
Tear/roll pieces from the clay and
put them together again with verbal
or physical assistance: rolling
clay worms/snakes under his/her
hands..
Use hands to roll out and flatten
clay.
Cut out shapes using a range of
shape cutters.
(Integration: Mathematics)
Use wooden pottery knife/cutting
implements/rolling pin with dough,
Plasticine or clay: cut out shapes
using templates/freehand, place
hand on clay and cut around, copy
actions of adult or other student,
cut out own drawings to use as
templates.
change the form of a small ball of clay.
Help to make a variety of forms in
clay: fat, twisty, squat, bumpy.
Distinguish between shapes that lie
flat and shapes that are solid and
stand by themselves: copy adult’s
actions in forming and pressing
down on them so that they stand
up.
Mould materials: form dough
into a shape and give it a name,
experiment in balancing some of
the forms created, alter shapes
already made, by pinching or
squashing them in different ways.
Make a clay form and manipulate
it with fingers to suggest a subject:
combine and re-form clay to make
abstract forms, turn a ball of clay
into an imaginary creature, make a
variety of real or imaginary animals.

29
experiment with, and develop, line, shape, texture, and pattern in clay.
Observe adult roll out clay and use
as a surface for drawing: put hands
on top of adult’s and experience
the rolling movement, adult places
hand on top of student’s, both adult
and student take turns in rolling
and making marks with fingertips,
fingernails, thumbs, fists, knuckles.
Observe how a line can be made by
moving a thin pointed tool across
the clay: stick, pencil, pen, end of
brush, wooden pottery knife.
Experiment with surface mark-
making, texture and pattern
on small thick slabs of clay:
communicate about the marks
made, observe similarities between
clay pictures and pencil drawings,
explore texture and pattern by
imprinting objects—thread spools,
pieces of bark, string, pine cone,
buttons, fork, shell.
Experiment with line drawings
using clay ‘worms’: pressing pieces
on to clay base in random order
to investigate the pattern, using
‘worms’ as lines to create pictures:
joining, breaking, turning the
different pieces.
Draw lines and shapes using clay
slip and slip trailer: observe the
effect of his/her squeezing and
moving, experiment with different
movement and pressure, observe
the effects of heat/drying on the
various colours used.
Experiment with textural effects;
by cutting pieces out of clay slabs,
by adding pellets and coils of clay:
pieces are baked/allowed to dry out
for students to handle and examine
again.
make mixed-media pieces in both representational and non‑representational modes.
Have opportunities to explore a
range of media and their impact on
clay: press sticks, lollipop sticks,
feathers or buttons into the clay
and begin to develop awareness of
pattern and texture.
Make pots from flattened clay
by pulling the edges up to stand
upright and form the sides, and
decorate with, shells, beads,
buttons, glitter.
Make clay figures of animals or
birds (real or imagined) based
on stories, songs or drama, and
decorate with feathers, shells,
straws and pipe-cleaners.

30
work inventively and expressively with clay.
Participate in decorating flat
shapes and solid forms with sticks,
feathers and buttons: observe
and participate with prompting/
assistance.
Roll out clay and shape it over a
dome-shaped wedge of newspaper
to make a base for a mask: draw,
cut or add pieces of clay/mixed
media to make features, asking for
adult assistance as necessary.
Use clay to make small pieces of
jewellery (bracelets, necklaces): roll
out small pieces of clay and pierce
with a straw/pencil, add decoration
by making incisions, painting or
varnishing with adult assistance.
Work inventively with cubes or
oblong blocks of clay and add
details to suggest a solid structure:
make a house, make a variety of
buildings to suggest a town.

31
make simple clay pots.
Participate, with physical help, in
making pinch pots and coil pots:
follow gestural and verbal guidance,
show interest in finished product.
Make a pinch pot with clay: observe
and copy adult actions, with
verbal and physical promptings,
as necessary, ask for help when
needed, feel and handle the
finished product, paint or varnish
when dry.
Make clay pots, using bowls/
saucers as moulds: pressing or
squeezing the clay to fit the bowl,
trimming the edges with a wooden
pottery knife, with verbal and
physical prompting as necessary.
Experiment with making slab pots:
roll out clay between battens, cut
out tile templates with/without
aid, wrap tiles around box/tin,
press together with fingers, and
by scratching clay, finish with
damp sponge, decorate by making
incisions, or paint and varnish
when dry.
Explore pinch pots further: make
imaginative pinch-pot creatures.
Make slab pots with verbal
instructions only: transform into
figures adding a head and arms, lay
flat to form the body of a monster.
Make a coil pot: joining coils
together with fingers and thumbs,
finishing with incision decoration or
colour glaze or stains.
develop shape, texture, pattern, and form with papier mâché.
Have opportunities to explore the
technique of using papier mâché to
make models: tearing paper strips,
covering balloons (with physical
and verbal assistance), making
guided choices about paint colour,
sticking on cut-out eyes/nose/ears
or mouth from magazines with
assistance.
Explore the medium of papier
mâché further: using strip and
pulp techniques on plates and
pots, making choices about paint
and pattern to decorate finished
products, Use bulk mâché or
plaster bandaging to create real
and imaginary creatures.
Design or participate in large-
scale or small-scale papier mâché
forms and structures: Halloween
masks, African masks, monsters,
dinosaurs, animals for nativity crib/
school drama, masks to illustrate
stories, rhymes, songs, festivals.

32
look at, handle and communicate about, natural and manufactured 3D objects.
Feel and handle a range of natural
objects that have interesting form
and shape: smooth stones, fruit,
tree branches, pine cones.
Feel and handle a range of
manufactured objects: wooden
bowls, moulded or carved toys,
pieces of jewellery.
Communicate response to what he/
she can see/touch/feel: soft, hard,
shiny, tickly, scratchy.
Examine a range of functional
and decorative pottery: look at
pottery used in school/at home/in
restaurants, indicate preferences
for designs and colours, show
understanding of uses when asked.
Have opportunities to watch adults
making pottery in school or in
workshop/pottery shop, look at
videos of pottery being formed,
fired and glazed.
Examine and observe different
types of pots when taken to
galleries and museums: touch and
handle artefacts and works of art
with care, identify materials used,
communicate preferences for
particular pieces/decorations.
Explore all elements of what he/she
sees/touches: form, texture and
temperature of figurative and non-
representational pieces of sculpture
(figurines, wall plaques).
Explore a range of masks:
commercial masks, theatrical
figures, street theatre masks.
Look at, and feel, his/her own
work: show interest in the activity,
respond to his/her finished
piece, begin to develop sense of
ownership, seek admiration for his/
her work, display work with rest of
class, see own work photographed
(with digital camera for instant
results).
Pick from a selection of instruments
and tools when prompted.
others during task: communicate
enjoyment of activity, recognise
her own work and that of peers,
accept or reject comments from
adults/peers about his/her work.
Identify materials and tools used.
activity/when task is completed:
articulate a problem and suggest
possible solutions, identify the
materials used, indicate what he/
she has changed, or would like to
change or develop, recall sequence
of operations with prompts from
teacher.

33
Watch other students as they work.
Pick out own work from a collection
when asked.
Show curiosity about other
students’ work.
Respond verbally/non-verbally to
questions about other students’
work.
accept or reject comments from
adults and peers about his/her
work.
Communicate appropriately
acceptance or rejection of
suggestions from peers and/or staff:
exchange compliments, express
appreciation.

34
Construction
experiment with the properties of materials used in creating 2D collage.
Making constructions
Handle a range of textured
papers to discover their different
properties: rough/smooth, warm/
cold, shiny/dull.
Observe adult spreading glue.
Make choices from a selection of
coloured or textured papers/shapes
and place them randomly, with
verbal or physical assistance, onto
glued background to create a
simple collage.
Tear and cut, with increasing
independence, a variety of papers:
tissue, crepe, newsprint, reflective,
sugar paper.
Sort, arrange and rearrange items
within a set area.
Use glue-stick or paste to fix
materials to sheet of paper/base,
asking for assistance if required.
Gather and investigate materials
that are the same colour for use in
collage: paper, fabric, tissue, cotton
wool, glitter plastic, sweet papers,
string, wool.
Participate in making class collage
representing one colour only, using
a range of media.
Collect, select and cut out pictures
relating to a theme for collage:
people, objects, colours.
Cut appropriately-sized pieces of
paper to fit space available and fix
into place.
Make choices and contribute to
large-scale 2D and 3D collage: early
work may concentrate on colour/
texture; later work could have a
‘metallic’ or ‘plastic’ theme.
Choose and arrange materials to
create patterns/desired effect.

35
explore and experiment with the properties and characteristics of materials in making
structures.
Touch, feel, hold and play with
3D objects: stack/arrange boxes,
bricks, containers and other objects
and communicate his/her response
to how things look and feel, build
a tall tower with small, lightweight
boxes, show awareness and
anticipation of structures that are
about to topple over.
Explore insides and outsides of
boxes and containers using hands,
feet and whole body.
Explore and experiment further with
construction toys and equipment
that allow free play: group, balance
and build with small and large
components, arrange and rearrange
various structures, discover that the
broad surface of a block is the best
base for building, build a structure
with bricks/blocks/boxes and give
it a name, construct a ‘bridge’ and
crawl/drive a car under it.
Group, balance and build with a
variety of materials: use large boxes
to create spaces and props for
drama, participate in setting up a
wigwam/camping tent.
Show development of spatial
awareness and awareness of
the strengths and possibilities of
materials: identify whether the
structure is delicately balanced or
robust and solid, how materials can
be joined, the tallest/lowest/widest/
narrowest part of the structure.

36
make non-representational and representational structures.
Participate in making
non‑representational structures
from recycled materials gathered:
attend to how materials are joined
together, explore materials that are
used to join objects together and
observe them being used (glue,
paste, masking tape, string, rope,
rubber bands), make choices from
a limited selection of materials and
decide where to place them, make
guided choices about colours/
materials used to decorate finished
piece.
Have opportunities to work
in a group to create non-
representational 3D structures
from solid shapes (boxes,
polystyrene): choose materials by
naming, sign and gesture, and
actively participate in manipulating
materials, stacking, balancing,
building, tying or gluing them
together, asking for assistance as
required, selecting and sorting
colours and media for decoration,
painting, printing.
Collect and store materials for use
in construction: explore and collect
objects in the school environment,
respond to requests to bring in
recyclable items from home (milk
cartons, cardboard boxes).
Participate in making
representational and imaginative
structures with materials gathered:
make a car/train/doll’s house using
cardboard boxes, make a kite using
a paper bag.
Create 3D objects from 2D
materials: make boxes from sheets
of card as containers for Mother’s
Day presents.
Make representational models
independently from a range of
sources, choosing appropriate
materials: designing and making
imaginative dwellings, (puppet
theatre, castle), showing increasing
attention to detail and scale,
and communicating about what
functions different parts of the
complex might serve.
Design, or participate actively in
making an imaginative plaything
from recycled objects: robot,
dragon, totem pole, puppets (using
stories, pictures, drama, videos,
films, television programmes,
music, trips to museums/art
galleries as sources of inspiration).

37
Respond to sensory aspects of
media/tools: look at own reflection
in bright reflective paper, explore
the fluid and solid properties of
glue, show displeasure at the smell.
Show interest in his/her own work:
seeking help appropriately.
Respond with pleasure or
displeasure to the finished product.
Use gesture/vocalisation/signing
to communicate needs in relation
to materials or tools that he/she
requires.
Show confidence and enjoyment in
the task at hand: take the initiative
in planning an activity based on
observation of adult/other students
at work, communicate how he/she
will use materials (‘I’m going to
make a dinosaur’).
Develop greater independence and
awareness of the appropriateness
of using particular joining materials:
choose masking tape instead of
glue.
activity/when task is completed:
identify the materials used,
articulate a problem and suggest
possible solutions, indicate what
he/she has changed, or would like
to change or develop.
displays.
Identify the work of peers.
Communicate about his/her work
when finished: identify the materials
and tools chosen for the task, how
the pieces were put together, what
he/she likes about the work.
her own work and that of peers.
Recall and communicate about the
activities that the group engaged
in and each student’s role in the
process: how constructive problems
were solved, first… then…
Sequence photographs taken
by adult using digital camera,
recording progress and the final
project/s.

38
look at, and communicate about, structures in the environment.
Participate in the open-ended
exploration of structures that are
easily accessible and close at hand:
doll’s house and furniture, toy
buildings, model farms, train sets.
Communicate response to what he/
she can see, touch, feel.
Investigate and recognise the
materials used in the creation
of natural and manufactured
structures: participate in sensory
tour of school buildings/public
buildings, reaching out and feeling
the texture of bricks, stone, marble,
glass, metal, cement, pebble dash,
wood, make crayon rubbings of the
various materials.
Examine familiar structures around
the school and locality: identify
materials used to make them, how
they move/work.
Begin to explore how different
materials may be used in the
construction of homes: own homes,
home of animals (Integration:
Geography—A sense of place).
Look at, and investigate, structures
in the school environment: decide
how many pieces were used to
make a table, a swing, a ladder.
Investigate commercially produced
masks and puppets or those on
display in galleries/museums: take
photographs of each other wearing
masks, communicate about colour,
texture and materials, make links
with their own designs.
Look at photographs of natural and
built structures: look at interesting
or unusual buildings, communicate
about materials used, select
structures from environment as
stimulus for group project.

39
Fabric and fibre
explore and discover the possibilities of fabric.
Creating in fabric and fibre
Investigate a wide variety of
materials in the class dressing-up
box: look, feel, smell, pull, twist and
smooth, hold up fabric to the light,
listen to the sounds made when
fabric is crumpled or torn, respond
negatively or positively to different
textures.
Gather together favourite pieces of
materials: discover how different
textures feel, and how they
compare, when put together.
Investigate open-weave fabric:
removing threads of fibres from
hessian, holding threads up to light,
making patterns with threads.
Look at buttons and beads and
thread a necklace.
Independently sort and match
fabric and fibre according to colour/
texture/strength/heat/ability to
absorb water/possible uses: fabrics
that have interesting textures:
knobbly, shiny, glittering, silky, cord,
wispy, and fibres such as cotton,
nylon, Lurex threads, wool, string,
rope, raffia, grasses, straw and
twine.
Make scrapbooks of favourite
swatches of materials.
invent a costume.
Turn play corner into a kitchen,
shop, restaurant, etc. Dress up as
the characters in these situations
using a dressing up box.
Attend to, and participate in making
a costume: look at, and feel, the
materials being used.
Make a costume for favourite soft
toy, using newspaper and masking
tape
Participate in sticking pieces of
fabric/fibre/ribbons/beads to old
clothing or pieces of fabric to make
costumes.
Show interest and help with making
costumes for a character from a
story: show interest in choosing
fabrics, stick on decorations
to pieces of fabric, change the
position of a piece of decoration.

40
make fabric collages.
Place fabric pieces on a glued
background: make guided
decisions, with adult offering a
limited choice of collage items, and
stick on fabric pieces in a random
fashion.
Participate in making a ‘touchy
feely’ comfort rug, using all the
fabrics and textures he/she likes.
Explore collage, with emphasis on
colour.
Develop a colour theme using
fabrics, fibres, beads and buttons:
use glue‑stick or paste to fix
materials to sheet of paper/base,
asking for assistance if required.
Make non-representational
collages, with the emphasis on
texture.
Develop awareness of colour,
texture, shape: choose, arrange
and rearrange materials to create
patterns, discover the effects that
can be created by adding a variety
of strings, ribbons, or large beads.
construct with fabric and fibre.
Make puppets using fabric and
mixed media, with physical and
verbal prompting from adult: sock
puppets, paper bag puppets.
Dress up a life-size drawing of
himself/herself, using old clothes.
Make a snake by wrapping rolls of
fabric with coloured wools and add
features using beads and fabric.
Make a costume for an imaginary
character by pinning/pasting/
stapling large fabric strips together/
to items of old clothing.
Make representational pictures,
using materials to represent what
has been observed/experienced:
self-portraits, landscapes, using
pictures and photographs as a
stimulus.
Make large 3D structures, using
fabric, fibre and other mixed
media: a scarecrow for school
garden, props for drama, imaginary
characters from stories, songs,
television.
Create a dream-catcher to hang
over classroom window/own window
at home, using found objects,
ribbons, beads.

41
change the surface of fabrics.
Make random prints on fabric,
using paint, sponges, brushes, and
found materials.
Change the colour of hessian by
rubbing chalk or crayons over it.
Add colour to pieces of fabric using
chalks, paints, crayons and pastels.
Draw, paint or print random or
regular patterns onto fabric, using
wax crayons, fabric paints, and ink.
Explore and discover the
possibilities for change that a
material such as hessian offers: fray
the edges, make holes in it with
fingers, pencils.
Make resist patterns on fabric
using stencils and paint/dye: make
curtains/wall-hangings for common
area, backdrops for drama.
experiment further with colour, pattern and texture, using fabric.
Add colour to coffee filters, using
coloured markers, add water, with
adult assistance, using a small
spray bottle or eye dropper and
observe colourful results.
Have opportunities to observe
adults experimenting with the
technique of tie‑dyeing: observe
adults knotting fabrics with string
or rubber bands and dipping them
in dye, react with interest to the
colours and patterns created when
ties are removed.
Experiment, with adult assistance,
with different ways of dyeing
fabric: investigate tie-dyeing
further, adding further ties for
more complex effects, using two or
more colours, react with interest to
colours and patterns created.
Experiment further with tie-dyeing:
making home-made dyes from fruit
and vegetables/other foodstuffs
(coffee, blackberries).
Experiment with batik: paint
random patterns with melted
wax onto fabric (under adult
supervision) and use home-made
or manufactured dyes to dye the
finished product (wax is broken off/
removed by adult with warm iron).
Explore batik further, using melted
wax to draw representational
pictures and by using several
stages of waxing and dyeing:
observe adult’s/artist’s use
of materials and tools, show
awareness of the sequence of
activities, participate actively in the
procedure, with verbal prompting
from adult.

42
create new fabrics.
Have opportunities to experiment,
with adult assistance and
prompting, with overlapping and
sticking strips of transparent
crepe paper/cellophane onto cut-
out frames to create the effect of
stained-glass windows: holding the
frames up to the light to observe the
colours created, observing display
on window.
Explore weaving, using strips of
fabric and a range of large-scale
looms: using irregular over-under
movements with his/her fingers
through plastic garden netting/
chicken wire, seeking verbal or
physical assistance as necessary.
Experiment with tying and knotting
fabric together: make a hanging of
materials he/she likes, by joining
them together, adding decoration
with buttons or sequins.
Explore weaving further, using
a wide range of fabric and fibre
(string, plastic bags, ribbon,
grasses) and looms (a bicycle
wheel, old picture frames).
Weave pieces of wool through slit
card or paper to create a mat: using
irregular over/under movements
and progressing to follow a
particular pattern such as weaving
‘over-one’, ‘under-one’.
Have opportunity to observe artist
weaving, using a standard loom
with a string or yarn warp: discover
how weaving can be further
developed: using two or more
colours, weaving different patterns
(over-two/under-one), incorporating
decorative items into the fabric.
look at, handle and communicate about, a variety of fabrics and fibres.
Respond positively or negatively to
different materials and textures in
the dressing-up box: bright, shiny,
soft, rough, scratchy, warm, cool,
fine or thickly woven.
Handle and investigate a range of
everyday materials: curtains, towels,
dishcloths, ropes, items of clothing,
trimmings (lace, ribbon, cords,
buttons, sequins).
Have opportunities to handle
different fabrics and items of
clothing: communicate preferences
for different colours and patterns
during shopping trips to town/
shopping centre.

43
Show interest in his/her own work:
seek help appropriately.
Make a choice between pieces of
fabrics.
Respond with pleasure or
displeasure to the finished product.
Use language to communicate
needs in relation to materials or
tools that he/she requires.
Show confidence and enjoyment
in the task at hand: copy adult’s
action/sequence of actions with
materials and tools.
Communicate about the colours
used to create shapes, textures and
patterns, about his/her favourite
piece.
Communicate about his/her work:
describe verbally/non-verbally
how each piece was made, what
materials and tools were used, what
part he/she enjoyed most.
Respond appropriately to
comments made on his/her work.
Decide what to include in a
personal portfolio.
displays.
Identify work created by other
students.
Identify colours and materials used
by other students.
participate actively in creating
group work, contribute to decision-
making process.
Show curiosity about other
students’ work.
Respond verbally/non-verbally to
questions about other students’
work.
Communicate with peers about the
work in progress.
Recall and communicate about the
activities that the group engaged
in and each student’s role in
the process: materials chosen,
how constructive problems were
resolved (use digital camera to
record progress of individual
students and take pictures of the
finished product for discussion
afterwards).

44
look at, and communicate about, fabric crafts.
Have opportunity to handle
dressing-up costumes and masks
made from different fabrics.
Communicate response to what
he/she can see/touch/feel: show
surprise and pleasure at colour and
movement of a Chinese dragon
costume.
Show preference for one craft item
over another.
Have opportunities to handle/look
at items of clothing from different
cultures and different eras: explore
woven, knitted, embroidered and
other fabrics.
Have opportunities to explore craft
works in art galleries, and see a
weaver at work.
Communicate responses to
wall‑hangings/tapestries/collage
work by artists, making links with
his/her own pieces of art.
Attend to detail in artists’ works,
observe artists’ use of colour:
bright/dark colours.

What else might you include?
45
Does your
Visual arts
curriculum
include these
elements?
Communication skills
opportunities to
communicate verbally
and non-verbally ideas,
likes and dislikes, work in
progress
talking, listening, observing,
classifying and recording
activities
responding to photographs,
pictures and 3D
n
n
n
Physical skills
activities to develop hand-
eye co-ordination and
manipulative skills
activities to develop control
of materials, tools and
techniques
n
n
Mathematical skills
estimating
measuring
predicting
investigating
awareness of line, colour,
shape, pattern, space and
form
n
n
n
n
n
Visits to or from
craftspeople in the
community
Aesthetic and creative
skills
opportunities to handle
a wide range of visually
stimulating materials
opportunities to explore and
develop the senses, through
the handling of craft pieces
and the observation of
works of art
designing and making
activities in 2D and 3D form
visual discrimination and
perceptual development
trips to art galleries and
exhibitions
n
n
n
n
n
Personal and social skills
opportunities to interact, co-operate and participate in group projects and activities and
with people in the community
looking at and responding to the work of others
n
n
What else might you
include?
Use of ICT

46
No. Exemplar title Page
1. Collage 47
2. Theme: trees 48
3. Introducing clay 50
4. Fabric and fibre 53
5. A visit to an art gallery/exhibition 56
Exemplars

47
Exemplar 1: Visual arts
Theme: Collage
Objective Stimulus
The student will explore a range of fabrics with a
variety of patterns and textures and make choices
between different materials.
The student will sort and arrange pieces of
material on a given outline of a tree.
The student will follow instructions to cut and
paste the collage pieces.
The student will respond to his/her own work and
communicate about the work of others.
The student will list the steps involved in the
collage-making process.
The student will attend to the visual, aural and
tactile elements of the collage-making process.
1.
2.
3.
4.
5.
6.
A nature walk is undertaken in the school grounds/
local park/local wood to observe the different trees.
This could be linked in with an autumn or spring
theme. Students are encouraged to observe and
feel the texture of the leaves and tree trunks. Bark
rubbings may be taken, and loose bark, twigs and
leaves collected. A digital camera may be used to
take pictures of the trees, to use as a reference in
the collage activity.
n
Resources
Small branches with leaves, a wide selection of paper and fabric, glue, crayons, brushes, scissors, large
sheets of paper, a digital camera.

Activity
Making the collage
Ideally, the art lesson will take place immediately after the walk. Students discuss the colours and textures
of the leaves and branches, and choose between a range of small pieces of coloured, textured fabrics.
Students may make individual trees or work together on a larger- scale tree. They observe the teacher
cutting out an outline of a tree and model the process of arranging and sticking. They sort and rearrange the
pieces within the outline of their own tree trunks. They may choose to cut the material into smaller pieces,
and may need some assistance with this. Some may choose to incorporate the collected leaves and twigs
into their art piece.
n
Evaluation
Concluding activity
Students respond to their own work, communicate about the colours and textures chosen, and the steps
involved (first … next … then …). Photographs may be taken of the finished products and the student
labels his/her work, with or without assistance. Using the digital camera, a class booklet may be made,
outlining the stages involved—the nature walk, exploring the textures, choosing, cutting and sticking the
materials, and finally photographs of the students themselves beside their works of art.

48
Theme: Trees
Strand: Drawing
Objective Stimulus Activity
Experiment with the marks that
can be made on a range of
surfaces.
Discover that lines can make
shapes.
n
n
Collection of leaves, different
shapes and types, chestnut,
beech, oak.
n Touch, smell and rub the
leaves. Turn them over and look
carefully at the pattern made
by the veins. Touch them.
Make rubbings of them, using
crayons.
n
Strand: Paint and colour
Develop awareness of colour.n Class nature walk, stand under
a tree, look up at the canopy,
name or point to colours.
n Using two primary colours plus
black, paint the tree using
flowing brushstrokes.
n
Strand: Print
Use a variety of print-making
techniques.
n A small ball of clay and a
collection of leaves.
n Make leaf rubbings.
Flatten out the clay; press
the leaves into the clay. Then
press the leaf onto paper, make
patterns.
n
n
Strand: Clay
Make mixed-media pieces
in both representational and
non‑representational modes.
n Trees in the playground, school
environment, poems, songs
and stories about birds and
nesting.
n Make a nest with a small ball
of clay, add eggs, feathers and
twigs.
n

49
Strand: Construction
Explore and experiment
with the properties and
characteristics of materials in
making structures.
n A nature walk looking at
trees, looking at the trunk and
branches, see how they join
together and make shapes.
n Build, with assistance, a
tree-like structure, using
Lego bricks, building blocks,
cardboard boxes.
n
Strand: Fabric and fibre
Make fabric collages.n Display created from the leaves
collected.
n Tear and cut leaf-coloured
paper to make a leaf collage,
stick leaves in position.
n

50
Theme: Introducing clay
Objective Stimulus
This activity is designed to introduce the texture
and pliability of clay. Students experience different
ways of changing the shape of clay, and ways in
which the clay can be patterned with the fingers.
n Students have materials in front of them with just
enough clay to fit into the palm of their hand. They
are given time to explore the feel, smell and texture
of their piece of clay and to react to this new
material. By resisting the temptation to load the
table with cutters and rollers (which diminish the
hands-on exploration of its properties), vocabulary
is elicited and promoted which can then be related
to other contexts:
‘How does the clay feel when you touch it?’
‘When you squash it in your hands is it hard or
soft?’
‘What colour is it?’
‘What does the colour remind you of?’
‘Have you smelled anything else like this?’
‘Can you roll it or stretch it?’
n
–
–
–
–
–
–
Materials
Clay.
Board.

51
Development
Students are guided with verbal and physical prompting to
squeeze clay in hand
flatten clay by hitting with the palm of the other hand
poke holes in the flattened clay with the fingers
flatten clay again with the palm of the hand
draw lines in the clay with fingers and fingernails
squeeze the clay again to make a shape in the hand—a ‘fat shape’, a ‘lumpy shape’, a ‘twisty shape’
roll the clay between the hands to make a worm, a ‘snake’
squeeze it again to make a shape in the hand‑—‘What shape have you made?’
tear pieces out of the shape
put the clay on the table
hit it with the palm of the hand to make it flat
poke holes in the flattened clay
flatten and smooth clay
draw lines in the clay
pick up clay and squeeze to make a shape in the hand. Try to make a ball shape.
n
n
n
n
n
n
n
n
n
n
n
n
n
n
n
Follow-up activity
Make a handprint
Extra clay is produced and flattened to approximately finger thickness (1-2 cm) with a rolling pin. Students
take turns to help roll out the clay before pressing their hands into the slab. Student names or class names
are scratched into top side of slab and clay is left to dry for a number of days. Students then participate in
games of identifying own and each other’s handprints from the slab.
n

52
Extension activities
Using play dough
A range of textures, colours and smells can be added to dough. The standard recipe for cooked dough can
be adapted in all sorts of ways to provide a range of stimuli:
bath oil replaces cooking oil to make a dough smelling of anything from strawberry to coconut, mango to
tangerine
cooking essences add touches of lemon, almond or peppermint
herbs, fresh lavender flowers, lentils or rice add texture
the rind of fruit can be added for the same reason—marmalade dough can be made using orange food
colouring and flavouring and grated peel.
Adventurous experimentation with food colourings adds yet another dimension; using paste rather than
liquid food colourings gives a denser result. Glitter and sequins add sparkle but are fairly quickly tarnished
by the salt in the dough, so these mixtures will need to be used soon after making. Other dough recipes do
not require cooking and can be made with the students. Using wholemeal flour and water, a dough with
a strong smell of wheat is produced which has a granular texture. A mixture of self-raising flour and water
which is not cooked gives a dough which is pliable and elastic.
Cooked dough
2 cups plain flour
1 cup salt
2 tbsp cooking oil
2 tsp cream of tartar
colouring
2 cups water
Cook all ingredients in saucepan over heat, stirring continuously. Mix the food colouring with the water
before adding for solid colour, or add separately for a marbled effect. Remove from heat when mixture
leaves sides of pan. Knead, adding any dry products designed to add texture, and store in an airtight
container.
A few seconds in an oven or microwave before the dough is brought into the classroom gives a wonderful
surprise and adds to the sensory experience.
n
–
–
–
–
n
n
n

53
Theme: Fabric and fibre
Objectives Stimulus
The student will
explore and experiment with fabric and fibre
make an inventive piece in fabric and fibre.
n
n
A character invented in play or drama activities
may spark ideas for a costume. Students are
encouraged to communicate about the story,
the characters they are playing and should have
access to a wide variety of inspiring old clothes
and oddments with which to make their costume.
Depending on numbers and ability levels, students
can work together to make one costume or work to
create individual pieces for different characters.
n
Materials
A supply of open-weave fabric, e.g. hessian, netting.
A resource box of scraps of plain and patterned fabrics in a variety of textures.
A collection of discarded clothes and household fabrics, including cotton, nylon and lurex threads, wool,
string, straw, rope, cord, twine.
Scraps of trimmings, for example lace, ribbons, cords.
A collection of discarded buttons, beads, sequins, feathers.
Scissors.
Glue.
Masking tape.
Stapler.

54
Activity
Materials and tools are organised in advance. Students have opportunities to investigate a wide variety of
materials in the class dressing-up box; look, feel, smell, pull, twist and smooth, hold up fabric to the light,
listen to the sounds made when fabric is crumpled or torn, respond negatively or positively to different
textures.
‘What does this piece feel like? Smell like? Look like?’
‘What can we do with this material. Scrunch it? Fold it? Roll it? Twist it?’
Student identify items of clothing from the class resource/dressing-up box. ‘What would a giant wear? This
feels soft. Would he like to wear this?’
If possible, a student or groups of students may actually create a costume for their imaginary character by
pinning/pasting/stapling large fabric strips together to items of old clothing—fabric can be tacked, pinned or
even stapled together. Any materials can be used—plastic bags, netting, felt, etc.
Students may choose to decorate their piece of material by colouring fabric using chalks, paints, crayons,
dyes, pastels, inks, etc., by tying on items such as ribbon, lengths of wool, braid, by sticking on items such
as buttons, beads, bows.
The finished products can be displayed on a hanger beside the storyboard, or the group may choose to put
on a show for another class or the whole school. Hats, jewellery and other accessories can be created and
added.
n
n
n
n
n
n
n

55
Evaluation
Students are encouraged to communicate about their finished piece, what they like best about their own work
and the work of others. During and after the lesson it will be important to observe and note the following:
Does the student attend to and participate in the activity, for example, look at and feel the materials being
used?
Can he/she make a choice between pieces of fabrics?
Does he/she show interest and help with making costumes for a character from a story: for example,
show interest in choosing fabrics, stick decorations onto pieces of fabric, change the position of a piece of
decoration?
Does he/she show confidence and enjoyment in the task at hand, for example copy adult’s action/sequence
of actions with materials and tools?
Can he/she use language to communicate needs in relation to materials or tools that he/she requires?
Does he/she communicate and interact with others during task, for example, recognising similarities and
differences in his/her own work and that of peers, participating actively in creating group work, contributing
to the decision-making process?
Does he/she show imaginative use of old clothes? How does the student respond to the finished product?
Can the student
communicate about the colours used to create shapes, textures and patterns, about his/her favourite
piece?
communicate about his/her work: describe verbally/non-verbally how each piece was made, what
materials and tools were used, what part he/she enjoyed most?
show curiosity about other students’ work?
respond appropriately to comments made on his/her work?
recall sequence of steps? Can the student sequence pictures/photographs depicting the different stages
of progress?

–
–
–
–
–

56
A visit to an art gallery may be used as a stimulus for an art project, or as a follow up to work in the classroom.
Planned carefully, the trip can become a valuable learning experience.
Before the visit
It will be important to visit the gallery beforehand in order to
ensure that the exhibition includes pictures or items to which the students can respond and relate
check accessibility for wheelchairs, the availability of a toilet and changing facilities if necessary, refreshment
area or an area to eat lunch, parking, distance from the bus stop, etc.
meet with the arts officer and prepare the gallery for the visit by briefing him/her on the communication and
learning needs of the students and the numbers of students involved
gain background information on the exhibition—purchase reproductions/postcards/large posters, if available,
of particular paintings for preparatory and follow-up activities. Some galleries may allow teachers to take a
limited number of photographs if the purpose of the activity is explained
identify key paintings or exhibits.
Students will also need to be briefed about what to expect and to understand appropriate behaviour—no running,
touching paintings, appropriate noise level. They should have opportunities to examine the reproductions or
photographs so that they know what to look out for.
During the visit
Students take part in an activity to locate the key paintings, using the reproductions as a guide. They are also
given the opportunity to explore and respond to other pictures. The teacher will need to judge how many works
of art to examine, and to watch out for waning attention. The arts officer may say a few words about the different
paintings or exhibits. If given permission, the students may take photographs of their favourite piece. Some
students may find the exhibition too distracting, and will need directed questions on each exhibit to remain on
task.
Paintings—‘what colours can you see in the picture?’
‘Do the people look happy/sad?’
‘Is it sunny/rainy/windy?’ ‘Are there flowers/trees?’
‘What else is there?’
Sculpture—‘is it made of wood/stone/clay/metal?’
n
n
n
n
n
n
n
n
n
n
A visit to an art gallery/exhibition

57
After the visit
Students could choose to focus on a particular exhibit or painting and, with the teacher’s assistance, interpret
it in his/her own way, or copy it using the same or different colours/media. This work could begin as soon as
possible after the visit, but be spread out over a number of sessions or weeks.
The teacher could focus on the style of a particular artist, for example printing, using particular materials or
fabrics or using animals or flowers as the stimulus.
Students could have experience of working on the same size or scale as the artist.
Students could assist in preparing a display with photographs, reproductions, and their own written or drawn
memories of the visit.
Students could write a ‘Thank you’ letter to the gallery or arts officer.
n
n
n
n
n

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