Global Thinkers: Visual and Audiovisual Arts I. Teacher's Guide (sample)

Contents The keys to Global Thinkers ................................................................................................... 4 Materials for the stage ............................................................................................................. 6 Digital projects ............................................................................................................................ 8 1. General characteristics 2. Visual index of resources 3. Inclusion in anayaeducacion.es 4. Evaluation in anayaeducacion.es 5. Programming and project keys From the LOMLOE to Global Thinkers .............................................................................. 17 Secondary Education Outbound profile Outbound profile and pedagogical keys of Global Thinkers - Outbound profile and specific skills of the area Basic knowledge of the cycle Inclusion in Global Thinkers Units................................................................................................................................................. 27 • Unit 1. A world of images • Unit 2. Visual language • Unit 3. An organised world • Unit 4. To scale • Unit 5 Visual Arts • Unit 6 Creating messages • Unit 7. Space, light and volume • Unit 8 Capturing a moment • Unit 9 Illustrating stories

The keys to Global Thinkers What is Global Thinkers Global Thinkers is a project designed to help answer one of the questions that most frequently arises in classrooms:

What is the use of what I’m learning?

Through learning situations and proposals for competence-based activities, it aims to promote learning for life and responding to challenges of sustainability, inclusion and digitization that 21st century society poses to students.

In a nutshell, Global Thinkers can be defined as a project that is

Competence-based, engaged, interdisciplinary, promotes active methodologies and digital competence.

4

Competence-focused Global Thinkers proposes the gradual and inclusive acquisition of skills. Its development helps students to acquire the ability to learn to develop in everyday situations.

Competence-based activities They focus on know-how and skill development. They encourage the application of learning in different contexts, and promote analysis, justification, prediction, experimentation, argumentation, interpretation or review. These are activities that prepare students for day-to-day decisionmaking.

Learning situations They are contexts, framed in real life and in a sustainable development goal, which pose a problem situation. With them, students are invited to carry out a transformative reflection for which it will be necessary to put into action the basic knowledge acquired over the course of several units.

Competence-based evaluations To measure the degree of acquisition of the outbound profile and reflect on the learning process itself. Various written and digital tests will be available to assess what has been learned, its application and its generalization to other situations, as well as a portfolio and a battery of evaluation instruments so that students can self-assess their own learning process (what difficulties they have encountered, what has satisfied them the most, how they organized themselves, how the worked as part of a team: in short, how they learned).

Engaged

Interdisciplinary

Inclusive

The students play an active role in the project that goes beyond the academic field. They will be involved in proposals that contribute to transformation in their family, social, cultural and natural environment for the benefit of a more committed and sustainable world in all areas.

Global Thinkers is an intrinsically interdisciplinary project, since it is conceived so that, in each subject and throughout the different educational stages, it contributes to the development of the pedagogical keys and active methodologies proposed in it.

What's more:

Global Thinkers is a project that was born committed to the principle of inclusive education and the creation of better learning conditions for all students, favoring the implementation of resources for personalized teaching.

For this, the project incorporates:

• I t includes tasks and small projects that put learning acquired in different areas into play, promoting its application in an integrated way in different contexts.

Sustainable Development Goals The learning situations and other proposed activities framed in an SDG are intended to make students more aware and carry out a process of reflection that provokes a transformation of habits, attitudes and behaviors that have a positive impact on objectives established in the Sustainable Development Goals.

Academic and professional guidance To awaken or detect vocations and help students decide on a training and professional pathway, according to their skills and personal interests, which enables them to face the challenges of sustainability, inclusion and digitization of 21st century society.

Entrepreneurial culture

• It includes specific work proposals for the Scientific-Technical Area and for the Sociolinguistic Area.

For this, the project incorporates:

UDL Guidelines Based on the principles and guidelines on Universal Design for Learning, the project offers teachers full information related to multiple options for action and expression, representation and engagement.

Inclusive resources Global Thinkers offers multiple options for presenting information, such as videos, audios, summaries, graphic organizers, interactive activities that facilitate the personalization and flexibility of the student's learning experience.

The essentials This inclusive resource of the project identifies the essential learning that will enable students to acquire the expected outbound profile and help teachers to adopt the most appropriate rhythm, style, depth and active methodologies for students.

With the purpose that students develop the skills and awareness necessary to transform creative ideas into actions and contribute to achieving the SDGs.

Active methodologies Global Thinkers proposes a set of methods, techniques and strategies that encourage teamwork and critical thinking. A way of working that prepares students for real life situations through cooperative learning, emotional education, thought development, entrepreneurial culture or the Language Plan.

Digital competence Global Thinkers includes an ICT Plan and a new digital project, with digital books especially designed to facilitate the acquisition of digital skills, and with a wide range of resources.

5

Teacher’s guide proposal

Materials for the stage

A Teacher’s guide proposal for each student's book with the solutions to the activities, methodological guidance, suggestions to apply active methodologies, etc.

What is Global Thinkers?

ts I

al Ar iovisu

s ’ r e h c a Te de Gui d Aud

an Visual Visual and Audiovisual

Arts

Global Thinkers is a project designed to help answer one of the questions that most frequently arise in the classroom: what is the use of what I learn? Through learning situations and proposals for competence-based activities, it aims to promote learning for life and to help resolve challenges of sustainability, inclusion and digitization that the society of the 21st century poses to students.

In a few words, Global Thinkers can be defined as an engaged, interdisciplinary project that promotes active methodologies and digital competence.

rana atu L. M ui M. s rreg R. A quera n Pi llejó M. Ca D. M.

RY

DA

ON

SEC

N

TIO

CA

EDU

GLO BAL

THINKERS

Student's bo ok

21

The student's book presents the contents and activities, adjusted to the curricular development established by the LOMLOE. Inspired by a competence-based methodology, these activities allow us to respond in a creative and innovative way to our engagement with inclusion and the Sustainable Development Goals, enabling the growth of skills and aptitudes that our increasingly diverse society demands.

ILLUSTRATION STORIES VISUAL LANGUAGE readding Rea ing and andliste listening ning

xx Cai

Tim Guo Cai Burton Qian(19 g 58)

Guo­Qia ng is a Chin and firew ese 1 GAGRGorks. He crea artist who creates art using Nint ted the h Wave, exp pyrotech that you nic perform losions can see in HSFHSD ance The the picture F 1 Match in 2016. the words from the text to the definitions. pyrotech nic gsdggadga fireworks a) A sma ll device containing a) and hfshsfd produces powder that burn bright colo s or explode ured ligh b) hsd Confhsd nech ts and loud s ted with noises. fireworks or a disp dfhsd Wehfhs lay of firew can create ima orks. ges by imit from our imagination atin . In The Nint g or recreating with an speexp akin reality or h Wave, Cai g n of losio colours to Guo­Qia senses. ng plays evoke feel ings and 1 awaken the 2 Whexx re 1 you xx do you think Cai Guo­Qia able to dist ng gets his ideas 2 textures that inguish the elements his images such as lines from? Are are made , shapes 3 Describ of? and e the colo urs you see think he in the perf made thes ormance. e colours? a meaning How do you Do you thin ? k the colo urs have

2 hsdfhdf

Speaking

l a u s Viudiovisual A rts I A and

RY DA N ON SEC CATIO U ED

Visual and Audiovisual

STAGE

Arts

I

4

Find a vide o or pict performanc ure of one es. Describ of Cai Guo and how e the diffe ­Qiang's they mak rent colo e you feel urs that you .

5 Cai Guo can see ­Qiang wor ks in diffe Do you rent countrie think s all over immigrants? his work is soci the world. ally inclu sive to all, including

26

• Make two sketches of the graffiti.

• Create a common signature among the whole clas s.

The Ninth Wave ( (San ghai, 2014 pyrotechn ), ic performan ce by Cai Guo­Qian

g.

anayaedu

cacion.e

s Go to the

SDG reso

urce 10.3.

XX

27

CHALLENGES THAT

LEAVE THEIR MARK

It is accompanied by many exercises and reflection activities.

WE WANT TO TELL YOU…

Graffiti includes inscriptions, paintings or drawings made in public plac generally have a critical or humorous meaning. These works are considered a ephemeral art as they are bound to disappear over time.

There are many urban artists. Banksy, Keith Haring, Harsa, Anna Tarati da, Olga de Dios, among many others, are especially noteworthy. All of t their own personal style, try to convey a certain message through thei Their paintings have different degrees of complexity and can be based geometric and organic figures. Also, they frequently blend naturally i environment in a natural way, taking advantage of any urban element to different meaning than the one it originally had. Colours, techniques, them vary from one to another.

na tura ui Ma eg Luz Arr ras cío ue Ro n Piq llejó len Ca ya Ma lores Do ría

Urban art can be a very effective instrument to encourage citizen particip all its aspects, as it not only serves to convey messages, but also to aesth enrich the environment.

ría

Ma

LEARNING SEQUENCE

Ma

1

2M ONTH

S LICEN CE

INCLUDED

DIGITAL PROJECT

investigate, with your family and friends, the topics that interest or concern them the most. Discuss issue you want to address, which positive message to transmit and which technique to use.

GLO BAL

Unit 1

THINKERS 10

6

Research urban artists you are interested in and analyse the denotative and connotative function of the images that inspire you the most.

Digital projects

Woorrkksshhoopp Aartistic w

1 UNIT UNIT 1

Discover another way to learn that is simple, intuitive and compatible with any platform and device.

create Let's create Let's

history throughhistory Travel Travelthrough

Collage Collage

different pastingdifferent A collage is a technique that consistsofofpasting A collage is a technique that consists When whole.When unifiedwhole. elements on a support, formingaaunified elements on a support, forming called a photo a collage is made with photographs,ititisiscalled a photo a collage is made with photographs, collage. collage.

Materials Materials

of pieces of are pieces materials are • The most commonly used materials • The most commonly usedwe want to create collages to create collages paper or photographs. If paper or photographs. If we want cloth, ascloth, suchas materials,such with relief, we can use thickermaterials, with relief, we can use thicker cardboard or cork. cardboard or cork. cardboard, paper, cardboard, thick paper, • As a support we can use thick • As a support we can use wood or canvas. wood or canvas. glue. IfIf white glue. or white stick or • Adhesive such as a glue stick • Adhesive such as a glue necessary, staples or thread. necessary, staples or thread.

11

timelineofof makeaatimeline groups,make Timeline.

Timeline.InIngroups, the Thinkofofthe lives.Think yourlives. representingyour images imagesrepresenting and life and your life moments inin your most significant moments most significant them. find picturesofofthem. findpictures images other with images other images with images personal the personal Mix Mix the placeatat tookplace thattook eventsthat socialevents andsocial of peopleand ofpeople comments addcomments alsoadd canalso Youcan time.You the sametime. thesame images. to theimages. tothe

folder yourfolder Personalise Personaliseyour

that folder that your folder on your collage on photo collage 22 Make Make aa photo

personal some personal Choose some you. Choose represents represents you. from orfrom magazinesor frommagazines othersfrom andothers images imagesand you. toyou. meaningfulto aremeaningful thatare the mediathat themedia are feelare youfeel thatyou elementsthat otherelements addother You canadd Youcan important. important. aspects interestingaspects showinteresting shouldshow The collageshould Thecollage your and your like and you like what you personality, what of your personality, of your image an image bean mustbe words,ititmust otherwords, inother hobbies; hobbies;in you. aboutyou. somethingabout that sayssomething thatsays appear thatappear peoplethat andpeople eventsand theevents onthe Reflect Reflecton and collage and your collage Show your collage. Show in your collage. in your collages. classmates’collages. yourclassmates’ toyour compare compareititto

Process Process

ideas possibleideas ofpossible sketchof • It is important to first makeaasketch • It is important to first make suitable one. one. and then choose the most and then choose the most suitable can whichcan background,which • Prepare the support and thebackground, • Prepare the support and the decorated. ordecorated. paintedor bepainted orbe is,or asis, leftas beleft be the inthe includein toinclude wantto • Prepare the elements that youwant • Prepare the elements that you them, fold them, them, fold cut them, can cut you can necessary, you (if necessary, collage (if collage the on them organise and them) and organise them on the crumple them) or crumple tear or tear glue Then glue see. Then you see. what you like what you like until you background until background them. them. by collage by your collage on your • You can put the finishing touches on • You can put the finishing touches and images and of images collection of the collection on the writing on or writing painting or painting to varnish to or varnish glue or white glue of white layer of on aa layer putting on then putting then adhesive. the adhesive. strengthen the and strengthen protect itit and protect

A project that offers you all the contents of the course through the digital book, along with a wide variety of resources.

of personalised collages.

Examples Examples of personalised collages.

(1944­1977).

Paolozzi (1944­1977).

Eduardo Paolozzi

by Eduardo (1971), by Bash (1971), print, Bash screen print, Montage screen Montage

Art Pop Art and Pop (1922­2011) and Hamilton (1922­2011) Richard Richard Hamilton

century 20th century the 20 of the movement of artistic movement important artistic an important was an Art was Pop Pop Art as aa culture as popular culture of popular images of used images and used tradition and challenged tradition that that challenged Art Pop Art of Pop theme of main theme the main such, the As such, people. As to people. out to reach out to reach way way to the is the techniques is used techniques commonly used most commonly the most of the one of and one life and is daily life is daily

art Collages inin art Collages

other and other th Braque and Georges Braque century, Georges At the beginning of the 20th century, At the beginning of the 20to use collages in their artwork.

Several first to use collages in their artwork. Several the first were the artists were cubist artists cubist as well as as well Höch, as Hannah Höch, as Hannah such as followed, such artists followed, avant­garde artists other avant­garde other Art. Pop Art. with Pop Hamilton with Richard Hamilton Richard

th

collage. collage.

Art. Pop Art. in Pop pioneer in and aa pioneer artist and British artist was aa British Hamilton was Richard Richard Hamilton and photographs, collages collages and He created paintings, sculptures, photographs, today’s homes what is makes today’s homes that makes it that is it installations. In his collage Just reflect to reflect media to the media used images from the images from so different, so appealing?, he lives. our on the impact of television

(1889­1978) Höch (1889­1978) Hannah Höch Hannah

pioneer considered aa pioneer is considered photographerr is and photographe artist and Dadaist artist German Dadaist This German This mocked she mocked which she in which collages in photo collages made photo She made collages. She of collages. use of her use in her in who activist who feminist activist a feminist also a was also She was style. She bourgeois style. elitist bourgeois the elitist the chauvinistic male chauvinistic the male against the out against spoke out and spoke rights and women’s rights defended women’s defended society. society.

Höch.

Hannah Höch.

by Hannah (1920), by girl (1920), young girl Beautiful young Beautiful

23 23

22 22

The final pages of each unit offer proposals designed to reinforce, encourage reflect and consolidate what has been learned.

The Challenges that leave an imprint incorporate a learning situation that REVIEW REVIEW invites the students to reflect and unit outline Unit Unit unit outline have a transforming nature.

SUMA

A +

A

SUMA A PORTFOLIO PORTFOLIO

SUMA a B=

+

SUMA S

b

AN ORGANIZEDAN ORGANIZED WORLD WORLD

b B=

A +

A A + b

UNDERSTANDUNDER STAND A A AND AND APPLY APPLY b ab

Shapes Nature Universal language

Basic traces

1

TO COMPLETE THIS CHALLENGE, YOU WILLYOU NEED TO...NEED TO...

TO COMPLETE THIS CHALLENGE, WILL

1

VISUALVISUAL PERCEPTION PERCEPTION

• Express yourself in a creative, open and collaborative way, using your • Express yourself in a creative, open and collaborative way, using your

communication skills to ensure group harmony: in harmony: this case, in through ephemeral communication skills to ensure group this case, through ephemeral urban art. urban art.

• Use various graphic, plastic, visual and audiovisual techniques to create artistic • Use various graphic, plastic, visual and audiovisual techniques to create artistic

products, and proposeand andpropose presentand original, ethical and ethical sustainable ideas and ideas and products, present original, and sustainable solutions. solutions.

artistic diversity, knowing, appreciating and respecting cultural the andcultural artistic and artistic artistic diversity, knowing, appreciating and the respecting heritage of any era. of any era. heritage

expression and knowledge process. expression and construction knowledge construction process.

• Incorporate• your classmates' to your learning by working group. in a group.

Incorporate yourcontributions classmates' contributions to your learningin bya working

THE CHALLENGE THE CHALLENGE

A +

B=

Links and Geometr tangents

ic

Plane geometry

Symbolology

human constructions

S

S

b

human constructions

Movement on a plane

d

RESTA

B=

b B=

A –

RESTA D

RESTA D

A –

A –

A

b

S d b A S

B=

B=

4 Subtract cangle 4BSubtrac RESTA RESTA B A – a A – aB =t angle from from Bd =

a cd

D Â. angle

b

a c b a a

A

D Â. angle

b

b A

ab A B

a d b d

d a cd b

B D

b

c

D A

b D

pation in hetically

Understand, think, search...

Understand, think, search...

A

the drawings.

AA

AA

the drawings.

shapes

V

B

V

VV

B

BB

VV

AA

AA

P

VV

BB

AA

AA

P

VV

PP

UNIT

1A

PP

UNIT

a

d c

scale of 1 to 5.

evaluat evaluate your learning scale of 1 to 5. e your learning on on a a

1

P

1.1 From1.1theFrom eyesthe to the eyesbrain to the brain

AD

EZ

1.2 Look1.2 andLook see and see EZ

Reflect and answer Reflect and answer

55

55

1 a) Look1 a) at Look the pictures of the of the at the pictures bacteria and solarand system. bacteria solarWhat system. What do you see?

Describe it. Do youit. Do you do you see? Describe think youthink can see Is youeverything? can see everything?

Is everything you observe everything you real? observe real?

ake two sketches a Make (with two sketches (with a metric base and organic geometric base and organic ) that transmit figures)the thatmessage transmit the message osen by the chosen whole class. by the whole class.

Unit 2

Create a common signature for signature for Transfer the sketch from Create a common Transfer the sketch from the entire class to entire include it into the the class include it in thethe paper to the thedefinitive paper to the definitive final result. medium with the techniques final result. medium with the techniques that you, as a that group, have you, as a group, have chosen. chosen.

Unit 3

d c

D

a

c cd ab

1.3 Our 1.3 eyesOur deceive us us eyes deceive

Do you dareDo to you design your own graffiti?

We graffiti? suggest We to carry out to ancarry ephemeral dare to design your own suggest out an ephemeral artistic intervention with the whole class some point yourpoint educational centre artistic intervention with the at whole class at in some in your educational centre and transmitand a specific message with a positive theme. transmit a specific message with a positive theme.

b) Describe the images b) Describe thearound imagesyou. around you.

What catches your attention?

What catches your attention?

What images you have vivid Whatdo images do you have vivid UltrasoundUltrasound images taken before birth.

PhotographPhotograph of a newborn. images taken before birth. of a newborn. memories of? memories of?

Record a video Record of theacreation video of the creation process and critically process assess and critically assess the the teamwork results. teamwork results.

We see and are seen.

Weseen. are surrounded by images we make We see and are We are surrounded by that images that we make c) Look c) at Look the pictures of the of the at the pictures and share.

There areThere even are images us before we are born.

Although and share. evenof images of us before we are born. Although ultrasound and the and newborn. ultrasound the newborn. each individual is unique,is we sharewe likenesses with others wewhen we each individual unique, share likenesses withwhen others What areWhat your are firstyour memories? first memories? comparecompare our skin colour, colour, We have a face and a body our skineye colour, eyeetc. colour, etc. We have a face and a body Do you Do think that others you think that see others see that identify but we change them to look thatus, identify us,sometimes but we sometimes change themlike to others, look likeorothers, or you as you really are? you as you really are? to be different. to be different.

Unit 3

Check the details of this projectof Check the details atthis anayaeducacion.es. project at anayaeducacion.es.

11

11

14

14

D

D

er er 5 Answer the questio 5 Answer the questio ns. You can ns. You can discuss them with your classmates.your classmates.discuss them with Then, Then,

Draw the bisect Draw or ofthe an bisect angle or of an angle 2 Follow the steps, 2 Follow the steps, using using A

A –

S

natural elements natural a b b elemen draw angle A. First d d ts ts or First or elemen elemen A. Then draw angle created by human created by human Then draw ts c c S S draw angle angle B insideDangle A, B inside angle A, s and study s and a study a same vertex, same vertex, B them: them: using using the Are the d D the awith side d of d the second youB able c c to Are you able to with side d of find straight and find straight and a angle coincidin angle coinciding curved curved b of the first angle. Bb of the firstsecond d d g with lines? How lines? How are the with side angle. BYou will side You will obtain are the different different c obtain a new angle elements related elements related a new angle B B centre centre cpoint with D being the with D being the point toc each other? toc each other? Then, d d and c and and c and a being a being the sides. the sides. trace the and discover theand discover theThen, trace the lines lines B B geometric shapes geometric shapes c c and structures.. and structu Let's res..

Let's reflect togeth reflect togeth

Symbolology

Geometr ic Movemen t on a shapes plane

B=

b a dB = c

ARecognizing A Recognizing polygo B B a nal a polygo shape s d c nal shape s bd c S c c a 1 Find pictures1 of Find pictures of

Shapes

A +

a) Do I know what a) Do I know what geometry geometry is and A why it was developed? developed? is and why it was P b) Do I know b) Do I know why VV VV BB BB why technical drawintechnical drawin V V BB BB c) We c) We need to be g is necessary? g is necessary?

B B need to be 1. Using V as the 1. Using V as the Polygons manually skilled manually skilled central central point and We are able both increadibly small andsmall largeand objects. have WePolygons We to aresee able to see both increadibly large We objects. have Modular Modular point and a radius to draw. Have I to draw. Have I a radius of any length, develop developed my skills? of any length, arc that intersect arc that intersect ed my draw draw skills? an an s the angle at points s the angle at points networks networks invented invented devices to see objects human cannot on devices to see the objects theeye human eyeperceive cannot perceive on A and B. Join A and A and B. Join A and a straight line. Using a straight line. Using d) Do B withI recognd) B with I recognise basic Star-sha A as the central pointA as the central iseDo pedperception basic Visual is ped the impression we have we of have the outside VisualStar-sha perception is the impression of the world outside world draw its own; regardless of how near or how or whether they its own; regardless of how nearfar or they how are, far they are, or whether they components of components of and with a freepoint and with a free geome draw another arc. another arc. radius, radius, try? plane plane geometry? polygons polygons that we expereince through our eyes our (oneeyes of our sense organs).

Light that we expereince through (one of our sense organs).

Light 2. RepeatSUMA are outside insideorofinside something.

We use our senses interact are or outside of something.

We use ourtosenses to interact 2. Repeat the operation operation = S BSUMA A + B= S e) Do I know geome e) Do I know geome using Bthe as the A + Busing as the central tric tric forms and can point. The point. The arcs intersect forms and can enters through pupils and hits and the retina, where it'swhere transformed enters our through our pupils hits the retina, it's transformed with our with environment, objects and people. experience emotions,emotions, our environment, objects andWe people.

We experience at point at point P. Joincentral arcs intersect P. Join the vertex RESTA RESTA I recognise I recognise vertex angle A – B = them A – B= D them of angle V the D in nature? in nature?

V to point P to find to point P of to find the the bisector. into electric These impulses reach ourreach brain's cortex intoimpulses. electric impulses.

These impulses ourvisual brain's visual cortex learn behaviours, etc. Being able to see enables to learn and learn behaviours, etc.

Being able to seeus enables usabout to learn about and bisector. f) f) SUMA SUMA Have Have A A + B= S I discovered theI discovered the B =b S Opera b tions +with via the optic nerve in about 33about milliseconds.

Sometimes whatOpera we what seetions via the optic nerve in 33 milliseconds.

Sometimes we see understand what is around understand what isus. around us. symbolism of geome symbolism of geome with angles angles RESTA RESTA shapes tric tric A A – differen – differen in in B b= D shapes B = D b t cultures? t cultures? creates acreates feeling awhich our lymbic in to emotion. feeling which oursystem lymbictransforms system transforms to emotion.A 3 a A 3 inAdd SUMA SUMA g) Am I able to g) Am I able to angles + Add + Ba= S B= ÂA and ÂA and d d BˆSangles Bˆ . precisely measurprecisely measur .

A b b c cRESTA A e and draw basic e and draw basic RESTA A – aB geome A – d aB geome d = D = D tric bshapes tric shapes ? ? b b b b b A A h) Can I performh) Can a c c S a S I perform basic basic a a b b geome geometric operati D D tric A In the visual process, the brain d the Inperception the visuald perception process, operati c c brainA ons ons a a without without a a drawing tools? drawing tools? d d d d b transforms informationinformation captured by the beye by transforms captured Ato pay attention, A b b the eye b b We have We to learn includes learning how to pay have to to see: learnthis to see: this includes learning howattention, Artistic action: Artistic Artistic action: Artistic B B a a di) Have I learned di) learned c Have c about c creality.

Sexternal S form form of expression into a drecreation into a of recreation external aboutI new expression A reality. a A ad of artists artists and artistic objects, and develop perception. distinguish objects, and our develop our perception.

DB D c c in which thedistinguish andnew which the B process also forms process alsoof a a artistic First draw angle A. First draw angle A. Early Early Christian symbo forms part ofinthe c d movements ora cstyles? d movements ora styles?

Christian symbo part of the Then Then d d draw draw b b final artwork; not final artwork; not angle B over angle B over angle b b ls: Referrin ls:isReferrin angle the object produc the object produc g visual g vertex, A, A, using j) to art to art it j) Although our visualour system almost perfect, isthe notearly objective.

It is side BcItofvertex, Although system almost perfect, it is not objective. is with with side Bc of the Have theHave of of c c same period ofonly period the is I discove I discovered what S second S secondusing the same early ed at the end. ed at the end. only the of Christia Christia red d d c c what angle coincidin angle coinciding a a nity, before geometric abstrac geometric abstrac before the 4th century D D th first first with side b theexperiences angle.

4nity, You will see century of the Bwith side bbased of tion is tion is a the on? a based influenced by our always see will obtain a g influenced by our experiences and memories. don't always B obtainangle. . and memories. .We don'tWe on?

Artistic project: Artistic ad newYou new angle with angle with project: Part of the d c c Hierog Hierog S S Part of the being being and and lyphics lyphics the the d d and central point central : Writing artistic process that artistic process that a being a Blind Writing being thespot point theBBlind thatisuses that k)d Have k) Have I learned sides.and spot sides. is inwhat front ofin:us.

Sometimes we see what we what want we to see what front of us.

Sometimes we see want see or what B or to uses before artistic activity before artistic activity symbo symbo I learned comes comes what d ls represe c c new artistic new artistic techniq real beings nting ls representing beings and objects and docum and docum and real objects ues and ues and B B hope we to and find. hope to find. and which represe resourc resources, such techniq which describes we sounds what the artist will what the artist will ents and describents es, such as c es and nt ideas or nt ideas or intervening inas intervening in nature? sounds do and why. do and why.

Did you know that we all have Did you know that we can all have an ; for example, Egyptia ; for example,represe nature?

REFLECT ANDREFLE n hieroglEgyptia n hieroglyphic writing CT AND SPREAD yphic writing SPREA Calligram: Poem,Calligram: Poem, . . area ofDarea the eye through which which of the eye through Landscape: Artistic Landscape: Artistic phrase, word or set phrase, word or set Your Your work work OUTPUT SKILLS of words in which work has been work that that objectively hascan't the letters form part the letters form part of words in which been we can't see?

Oursee? brains dobrains not do notOUTPUT SKILLS Our seenwe seen PROFILE PROFILE represents places throug places through objectively represe by by the the of a drawing thatof a drawing that entire entire educati direct and scientifnts educati commu onal is related to the is related to the h direct and scientif becausinformation content of the writing content of the writing At the end of these receive thisfrom part receive this partAt theonal ic observation of ic observation of community becaus e it isnity e itfrom end of these is in some ininformation nature. nature. some location location . . challen challen in the in the centre.

How Our perception is limited.is Sometimes it deceives us by How deforming Our perception limited. Sometimes it deceives us has by deforming reflect and check has the process the you have ges, reflect and ges, check of the eye, but we of “fill in” of process the eye, but we what “fill in” whatyou centre. have if if of choosin choosin Convex Bacteria seen through a through system seen through a telescope.

Bacteria seen a Solar Solar system through a telescope. g the g the polygo messag message been? achieved these achieve Realism: Artistic Realism objecti d these objectives: downlo n:Convex n: seen Polygopolygo Polygon in which Have you reality creating optical Optical illusions consist of ahad difficult e been? reality andstyle creating optical illusions.* Optical illusions consist ofHave a : Artistic n in which had styleand difficult following table atfollowing table at ves: download the is missing, and therefore, we are we are is missing, and therefore, ad the that thatillusions.* some of the some of the inner microscope. microscope. yyou aims to aims to represent agreein agreein angles are greater angles are greater represe g g on anayaeducacion.es anayaeducacion.es on it?yCan it? Can art change nt it is, even if it isvisual it is, conflict reality art change even than 180° (flat angle). than 180° (flat inner people? people? leads us leads to reality perceive one reality several visual conflict that us to oneinreality inways, several ways, as perceive as if itthat and complete it. and complete it.

Explain Explain not attracti angle). unaware of it. yourof unaware it. your answer. answer. ve. is not attractive.

Conven Conven sometimes in ways that are logically inexplicable. in ways that are logically inexplicable. tional: Seeing isSeeing a complex process.

We sometimes only see what wewhat are we is a complex process.

Wethe sometimes see are Transce Transcesometimes Adjusti Adjusti ngtional: ng only to to l: Related to that the REVIEW YOURREVIE Descriptor Descriptor standa standards, likes ndental: Relatedndenta to W rds, that YOUR prefere prefere likes which which Partially Partially PLANN PLANN and and Achieved Achieved nces nces transcends the transcends the Not Not of thewe familiar with, or what we want to see.

For asee. stimulus to y. be perceived familiar with, or what want a stimulus to be perceived limits of perceplimits ING AND TEAMW ING AND TEAMW theFor majorit majorit of perceptible reality, y.toof achieved achieved tible reality, ORK ORK achieved achieved I express especially that which especially that which Review your work Review your work myself in a creative,I express myself in a creative, and stored inConvex our memory, it must have a certain degree of intensity. and stored inpolygo our memory, it must have a certain degree of intensity. open open related related Convex and and planning planning and the collaborative way, collaborative to spirituality. to spirituality. is is using my communica way, using my communica n: Polygopolygo n: Polygon in which the performance of perform n that tion tion in skillsance skills to ensure your group in this your group inand which to ensureof group harmony, all ofattention Our memories also are depend on things catch our orall of the Our angles memories also angles depend things that catch our attention or inner thisonproject in this case, group harmony, in this case, project inner Focus on, filling English through ephemeral through Focus English areonless , filling in the rubric less ephemeral urban than 180° than 180° (flatthe in the urban art. art. rubric (flat angle). can find at anayae can find at anayae that that angle).

I use I use plastic techniques interest us.

However, we perceive some things unconsciously. interest us. However, we perceive some things unconsciously. plasticyou techniques ducacion.es. ducacion.es. you to create artistic artistic products and present to create products and present original, Illusion isIllusion the same as same deception, is the as deception, original, ethical and ethical and sustainable ideas sustainable ideas and solutions. and solutions.

54 54 misinterpreted perception or a misinterpreted perception or a false belief.

Discuss with this yourwith your false belief. this Discuss classmates and compare the wordthe word classmates and compare with other languages you know.you know. with other languages

AD

• Perform advanced internet searches.

• Perform advanced internet searches.

• Regulate and express and yourexpress emotions.

• Regulate your emotions.

• Plan medium-term goals and learn from in the process of artistic • Plan medium-term goals andyour learnmistakes from your mistakes in the process of artistic

iel, Okuthem, in ir works. on both into the give it a mes, etc.,

Universal language

Y Y GLOSSARGLOSSAR

• Value freedom of expression and personal enrichment through cultural and • Value freedom of expression and personal enrichment through cultural and

ces that a form of

Linkstraces Basic and tangents

Plane geometry

SUMA S

S a

d

d

Nature

SUMA S

B=

RESTA b

Optical illusion created by created artist by artist Optical illusion Julian Beever (1959).

Julian Beever (1959).

Understand, think, search...

Understand, think, search...

Where are you looking?

Where are you looking?

What doWhat you pay to? do attention you pay attention to?

2 Our eyes move to move focus,to sweep, zoom, 3 Think of3aThink routeof you usually take and describe in detail.it in detail.

2 Our eyes focus,follow sweep,and follow and zoom, a route you usually take anditdescribe similar tosimilar the way cameras do in films.

In films. groups, Then go through and tryittoand describe details you to the way cameras do in In groups, Then goitthrough try to the describe the details you make a video these movements and observe had not recalled Make a small photo report and make with a video with these movements and observe had notbefore. recalled before.

Make a small photo report and the differences between between them. present itpresent to the class. the differences them. it to the class.

15

15

7

Digital projects

Interactive

A digital projects that covers all the course content and adapts to any platform and device.

Versatile Adaptable to different approaches and needs: for those who complement the paper book and for fully digital classrooms.

It contains a variety of resources such as videos, animations, gamification, selfassessment activities and selfcorrecting interactive activities It is much more than a digital version of the paper book.

Traceable You will be able to visualize the completion and results of the proposed activities.

What is Edudynamic?

Inclusive Competencebased

Its environment facilitates the personalization of learning by adapting the tasks to the students' needs.

High-value educational multimedia designed to facilitate the acquisition of digital skills.

Intuitive. Easy to use for you and your students.

Downloadable.

It allows working without an internet connection and downloading to more than one device.

Multi-device. It adapts and displays

on any type of device (computer, tablet, smartphone...) at any screen size and resolution.

Synchronizable. Changes made by the user are automatically synchronized when connecting any of the devices on which they work.

Universal. Compatible with all operating

Workshop artistic workshop Artistic

systems, virtual learning environments (VLE) and educational platforms (LMS) most used in schools.

Action or gestural painting

Action painting or gestural painting is a form of action art, a technique that emphasises expressiveness and spontaneity. It consists of gestures and moving the entire body, without the need for traditional tools such as a paintbrush or spatula. Large formats are used, in which shapes, textures and colours symbolise emotions and feelings.

Materials • Paint that can be diluted so that it drips easily, ink, or even watercolour.

• A large piece of paper or cardboard, fabric or canvas.

Process

9:45 AM iPad

Jackson Pollock working in his studio in 1950.

8

finished, cut the paper into

Dream, create and share •• AAlarge large piece pieceof ofpaper paper

Jackson Jacksonpollock pollockand andaction actionpainting painting

century century in in the the United United States, States, Jackson Jackson Pollock Pollock (1912­1956 (1912­1956),), who who was was influenced influenced by

by German German Expressionism expression expressionism, ism, distanced distanced himself himself from from figurative figurative art Expressionism originated from Germany. This artistic art and and created created aa new new painting painting style style is characterised by deforming reality to give style known known as as abstract abstract expression expressionism. priority to the expression of feelings over objective ism. Jackson Jackson Pollock Pollock developed developed the depiction. It emphasises the strength of the stroke and the technique technique known known as as action colour. In this sense it is similar to fauvism. action painting, painting, which which consists consists of of throwing throwing paint paint or or letting letting itit drip The Large Blue Horses (1911), expressionist painting drip on on canvas, canvas, and and doing doing

by Franz Marc (1880­1916). so so without without using using drawings drawings or or sketches, sketches, but but by by merely merely letting lettinghimself himselfgo. go.

37

36

Jackson JacksonPollock Pollockworking workingininhis hisstudio studioinin1950.

1950.

36 36

Br B paintin paintin (love, (love,uu aawork work part. part. SS picture picture

Spontanei Spontaneitytyand and ininfigurative figurativeart art

At At the the end end of of t styles styles appeared appeared t of of spontaneo spontaneous us aa impression impressionism ismand an

or orsocks socksthat thatwe weno nolonger longeruse, use, aapiece pieceof ofcloth, cloth,aasponge, sponge,etc. etc.

Impressionism

11

Place Place aa Choose Choose subject, subject allow allowthe th part partof oftt follow followan a

the thematerial materialof ofyour yourchoice. choice.

•• We Wecan canalso alsotry tryother othertechniques techniques, ,such suchas ashitting hittingthe the paintbrush paintbrush, , moving moving around around freely freely guided guided by by rhythm rhythm or or emotion; emotion; walking walking on on the the paint paint or or dragging dragging our our

Impressionism was developed in France as a reaction to academic art. Impressionist artists wanted to achieve a direct and spontaneous representation of the world.

They observed the effects of light and how contours Starry Night (1889), impressionist painting by Vincent van Gogh were blurred. They applied dabs of colour directly (1853­1890). on the canvas to achieve “optical colour mixing”, a In the technique on which pointillism is also based. In the 20 20thth

Express Express gestures gesture

Experim Experim your yourex ex Then, Then,dd

Brainstorming Plan a large mural or gestural

painting that expresses a value, feeling or mood or orcardboard cardboard, ,fabric itfabricor Complete your section of the mural so that orcanvas.

2 canvas. (love, understanding, generosity). Given that it is tells a personal story; it might not make sense, or it a work of action art, the process is an important could even be surreal. Do this by making drawings part. So, get organised and start by taking with stories that also form part of the composition. pictures, recording videos and even audios.

•• With With the the material material according the tone varying or two colours, of of Use one your your choice choice on on the the ground, Experiment with different paint effects and share ground, emotions you are expressing. to the different different techniques techniques your experiences with the subject you represent. can can be be used: used: letting letting paint paint Include textures, which you can imitate or make drip, drip, Then, do some sketches of possible ideas. swiping swipingit, it,pouring pouring when water them, code in on hide a QRwater up, and onititwhich so sothat that the thepaint paintruns, runs, Place a large piece of paper on the ground. lifting lifting the will take the viewer to a video or a scanned, the paper paper vertically vertically and Choose some music that goes along with the and letting of action the the paint website with information on the typeletting paint slide slide you down, subject, and let the music guide you whiledown, etc. etc. Paint Paint can also you did.can painting also be be shot shot by by aa paint paint spray allow the paint to drip. You can each work on one spray gun, gun,thrown thrown ink or with a ballpoint pen. drawing with Go over your directly directly part of the paper until you meet in the middle, or from from the the can can or or in in balloons balloons classmates. your of those to project your that that Compare follow an outline that you’ve established. explode explodeagainst against

feet feet over over it; At the end of the 19th century, figurative artistic it; covering covering our our hands hands and and fingers fingers in use in paint paint styles appeared that were characterised by the and and spreading spreading them them over over the the paper, of spontaneous and expressive techniques, such as paper, etc. etc. We We can can use use paintbrush paintbrushes, impressionism and expressionism. es,gloves gloves Number 3 Tiger (1949), by Jackson Pollock.

In the 20 century in the United States, Jackson Pollock (1912­1956), who was influenced by German expressionism, distanced himself from figurative art and created a new painting style known as abstract expressionism. Jackson Pollock developed the technique known as action painting, which consists of throwing paint or letting it drip on canvas, and doing so without using drawings or sketches, but by merely letting himself go.

1

Spontaneity and expressiveness in figurative art

• We can also try other techniques, such as hitting the paintbrush, moving around freely guided by rhythm or emotion; walking on the paint or dragging our feet over it; covering our hands and fingers in paint and spreading them over the paper, etc. We can use paintbrushes, gloves or socks that we no longer use, a piece of cloth, a sponge, etc.

th

•• Paint Paintthat that

you have When can can be bediluted dilutedso Express your emotions with spontaneous sothat thatititdrips dripseasily, easily,ink, ink,or sections so each person has a part of the painting. or even evenwatercolou gestures watercolou r.r.

Process Process

• With the material of your choice on the ground, different techniques can be used: letting paint drip, swiping it, pouring water on it so that the paint runs, lifting the paper vertically and letting the paint slide down, etc. Paint can also be shot by a paint spray gun, thrown directly from the can or in balloons that explode against the material of your choice.

Jackson pollock and action painting

Materials Materials

Let's create

100%

Workshop artistic wo Ar

Let's create

Action Actionororgestural gesturalpainting painting

Action Actionpainting paintingor orgestural gesturalpainting paintingisisaaform formof ofaction action art, art, aa technique technique that that emphasise emphasisess expressive expressiveness ness and and spontaneit spontaneity.y. ItIt consists consists of of gestures gestures and and moving moving the the entire entirebody, body,without withoutthe theneed needfor fortraditional traditionaltools toolssuch such as as aa paintbrush paintbrush or or spatula. spatula. Large Large formats formats are are used, used, in in which whichshapes, shapes,textures texturesand andcolours colourssymbolise symbolise 21 emotions emotions UNIT and andfeelings. feelings.

Number Number33Tiger Tiger(1949), (1949),by byJackson JacksonPollock.

Pollock.

Impressio Impressionism nism

Impression Impressionism ism was wa to toacademic academicart. art.Imp Im aa direct direct and and sponta spont They They observed observed the the were were blurred. blurred. They The on on the the canvas canvas to to a technique techniqueon onwhich which

Expressio Expressionism nism

Expression Expressionism ism origi orig style style isis characteris characterise priority priority to to the the expr exp depiction. depiction.ItItemphasi emphas colour. colour.In Inthis thissense sensei

The TheLarg Larg

And for the students?

Edudynamic presents a format specially designed for the educational digital environment, which harnesses all the technological potential and is compatible with any device. Specific editions of all the theoretical and practical contents of the textbook have been produced to obtain an interactive and dynamic version that includes all the curricular content of the level, together with a great diversity of multimedia resources, videos, gamification

What does it offer?

Resources Active methodologies (techniques and strategies) and resources for the following:

•P ractice: interactive activities.

•S tudy: interactive summaries, diagrams...

•L earning: audio, video...

•A ssessment: self-assessment, portfolio

Inclusion and attention to diversity • The essentials.

•A ttention to diversity: Reinforcement, extension and multilevel sheets.

Assessment • Generator of evaluation and exercise tests.

•E valuation by units.

•S kills evaluation.

1.2 Drawing shapes

UNIT

1.3 Textures

Shape refers to the outer appearance of things. Shapes can be organic or geometric, flat or volumetric.

Texture is a surface characteristic that we perceive using sight and touch. Art imitates and recreates textures. Texture and colour reinforce emotions and help us distinguish materials and objects.

Sometimes, artists draw lines to accentuate shapes (1); other artists define shapes using only colour (2), dots (3) or colour expanses (4), without using contour lines.

When drawing shapes, contour is the line that defines the outer part and contained space is the interior of the shape. When the contained space is filled in with one plain colour, we call it a silhouette.

1

21

•T ools for assessment, self-assessment and co-assessment.

• Tools to evaluate teaching practice.

3

Visual textures: Compliance (1905­1909),

by Gustav Klimt.

1.4 Representation and interpretation

4

Textures obtained through frottage: Documenta (1959), by Max Ernst.

Natural textures: Bird 2 (2014), by Javier Lorenzo.

There are different ways to express what we see.

We can represent reality in a more or less objective way, using techniques that depict an object naturally.

2

When we reproduce elements in an image realistically, it is called a figurative image. When elements from reality are not reproduced realistically, it is called an abstract image.

We can represent reality by creating images that are different from the ones that we see. When we express feelings, emotions, dreams or ideas, we can be carried away by fantasy and imagination.

The images can be figurative, but not logical. Images may not even have anything to do with reality, which is what we call surrealism.

1. Woman, Bird and Star (1970),

by Joan Miró.

2. On White II (1923), by Wassily Kandinsky.

Understand, think and apply…

3. Girl Running on a Balcony (1912),

by Giacomo Balla.

4. Red Haired Girl Sitting on a Veranda (1884), by Berthe Morisot.

Tiforal (1947), surrealist painting

by Remedios Varo.

Imitate reality 1

5 In order to draw something

realistically, the first and most important thing to do is to observe, then sketch the image on the paper or medium you will draw on.

(1), Draw the basic lines (2) and Draw the contour of the shapes (3).

Choose an object that you are interested in and reproduce it following these steps.

Imagine and draw

Understand, think and apply…

Discover hidden shapes

4 Find figures of objects, animals and people. On a piece of paper, draw or trace the contour lines and mix them up so that they are less recognisable. Then, have a classmate try to guess what each silhouette represents.

6 Close your eyes and think

of images. They do not have to be real.

Focus on the shapes, lines and textures. Draw what you have imagined.

Sketch.

2

Basic lines.

3

Contour of the shapes.

31

UNIT

s your emotions with spontane ous es

Brainstorming Plan a large mural or gestural ng that expresses a value, feeling or mood understanding, generosity ). Given that it is k of action art, the process is an important So, get organised and start by taking es, recording videos and even audios. ment with different paint effects and share xperiences with the subject you represent. do some sketches of possible ideas. a large piece of paper on the ground. e some music that goes along with the t, and let the music guide you while you he paint to drip. You can each work on one the paper until you meet in the middle, or an outline that you’ve established .

21

When you have finished, cut the paper into sections so each person has a part of the painting.

Dream, create and share 2

Complete your section of the mural so that it tells a personal story; it might not make sense, or it could even be surreal. Do this by making drawings with stories that also form part of the composition.

Use one or two colours, varying the tone according to the emotions you are expressing.

Include textures, which you can imitate or make up, and hide a QR code in them, which when scanned, will take the viewer to a video or a website with informatio n on the type of action painting you did.

Go over your drawing with ink or with a ballpoint pen.

Compare your project to those of your classmates.

expressiveness

Programming, teacher’s guides and documentation of the project • The keys to Global Thinkers.

• Teacher’s guides.

• Programming in Word and PDF.

the 19th century, figurative artistic that were characterised by the use and expressive techniques , such as nd expressionism.

as developed in France as a reaction mpressionist artists wanted to achieve taneous representation of the world. e effects of light and how contours ey applied dabs of colour directly achieve “optical colour mixing”, a h pointillism is also based.

ginated from Germany.

This artistic sed by deforming reality to give pression of feelings over objective sises the strength of the stroke and it is similar to fauvism.

ge Blue Horses (1911), expressionist

painting

by Franz Marc (1880­1916).

Starry Night (1889), impressionist painting by Vincent van Gogh (1853­1890).

9

From LOMLOE to Global Action

ESO outbound profile ( perfil de salida) The student outbound profile at the end of basic education identifies and defines, in connection with the challenges of the 21st century, the key competencies that students should have developed by the end of basic education, and introduces guidelines on the level of performance expected at the end of their education pathway.

The aim is to guarantee that every student who successfully passes basic education and, therefore, achieves the outbound profile, knows how to mobilize the learning acquired to respond to the main challenges that they will have to face throughout their lives: - D eveloping a responsible attitude based on awareness of environmental degradation, using knowledge of the factors that cause, aggravate or improve it, applying a local and global systemic overview.

- I dentifying the different aspects related to responsible consumption, assessing its repercussions on the individual and on the common good, critically judging needs and excesses and exercising social control when faced with a violation of consumer rights.

- D eveloping healthy lifestyle habits based on an understanding of how the body works and critical reflection on internal and external factors that affect it, assuming personal responsibility in the promotion of public health.

- P ossessing the sensitivity to detect situations of inequality and exclusion using an understanding of their complex causes in order to develop empathy and compassion.

- U nderstanding conflicts as inherent elements of life in society that must be resolved peacefully.

- C ritically analyzing and taking advantage of all kinds of opportunities offered by today's society, in particular those related to digital culture, evaluating their benefits and risks and using them ethically and responsibly, in a way that contributes towards improving the quality of personal and collective life.

- A ccepting uncertainty as an opportunity to formulate more creative responses, learning to manage the anxiety that may come with it.

- C ooperating and coexisting in open, changing societies, valuing personal and cultural diversity as a source of wealth and taking an interest in other languages and cultures.

- F eeling part of a collective project, both locally and globally, developing empathy and generosity.

- D eveloping the skills that allow one to continue learning throughout life, using confidence in knowledge as the driving force for development and the critical assessment of the risks and benefits of this knowledge.

The key competencies to be acquired are the following: a) language communication competence b) multilingual skills c) competence in mathematics, and science, technology and engineering (STEM) d) digital skills e) personal, social and learning-to-learn skills f) citizenship skills g) entrepreneurial skills h) cultural awareness and expression skills Regarding the applied dimension of the key competences, a set of operational descriptors has been defined for each of them.

These operational descriptors of the key competences constitute the referential framework from which the specific competences of each area, scope or subject are specified. This link between operational descriptors and specific competences means that, from the evaluation of the latter, it is possible to infer the degree of acquisition of the key competences defined in the outbound profile and, therefore, the achievement of the competences and objectives set for the stage. These operational descriptors are as follows:

12

Language communication skills (LCS) LCS1. They express themselves orally, written or by signing with coherence, correctness and adaptation to the different social contexts, and participate in communicative interactions with a cooperative and respectful attitude, both to exchange information and create knowledge and to build personal bonds.

LCS2. They understand, interpret and critically evaluate oral, signed, written or multimodal texts from the personal, social, educational and professional fields to participate in different contexts in an active and informed manner and to build knowledge.

LCS3. They progressively locate, select and compare information from different sources, evaluating its reliability and relevance based on the reading objectives and avoiding the risks of manipulation and misinformation, and integrate and transform it into knowledge to communicate it while adopting a point of view that is creative. , critical and personal as well as respectful of intellectual property.

LCS4. They autonomously read various works appropriate to their age, selecting those that best suit their tastes and interests; appreciating literary heritage as a privileged channel for individual and collective experience; and mobilizing their own biographical experience and literary and cultural knowledge to build and share their interpretation of the works and to create texts of progressively complex literary intent.

LCS5. They put their communicative practices at the service of democratic coexistence, the dialogued resolution of conflicts and the equal rights of all people, eschewing discriminatory uses of language, as well as abuses of power through it, to favor not only effective but also ethical language.

Multilingual skills (MS) MS1. The use one or more languages effectively, in addition to the family language or languages, to respond to their communication needs, correctly and appropriately both to their development and interests and to different situations and contexts in the personal, social, educational and professional fields.

MS2. Based on their experiences, they make transfers between different languages as a strategy to communicate and expand their individual language repertoire.

MS3. They know, value and respect the language and cultural diversity present in society, integrating it into their personal development as a factor of dialogue, to promote social cohesion.

Mathematical proficiency and proficiency in science, technology and engineering (STEM) STEM1. They use inductive, deductive and logical methods of mathematical reasoning in known situations, selecting and employing different strategies for solving problems, critically analyzing the solutions and reformulating the procedure, if necessary.

STEM2. They use scientific thinking to understand and explain the phenomena that occur around them, relying on knowledge as the engine of development, asking questions and testing hypotheses through experimentation and inquiry, using appropriate tools and instruments, appreciating the importance of precision and truthfulness and showing a critical attitude to the scope and limitations of science.

STEM3. They plan and develop projects by designing, manufacturing and evaluating different prototypes or models to generate and/ or use products that provide a solution to a need or problem in a creative and cooperative way, seeking the participation of the entire group, peacefully resolving any conflicts that may arise, adapting to uncertainty and valuing the importance of sustainability.

STEM4. They interpret and transmit the most relevant elements of scientific, mathematical and technological processes, reasoning, demonstrations, methods and results in a clear and precise way, in different formats (graphs, tables, diagrams, formulas, diagrams, symbols...) and taking advantage of critically digital culture including

formal mathematical language, with ethics and responsibility to build and share new knowledge.

STEM5. They conduct scientifically based actions to preserve physical and mental health and the environment and apply principles of ethics and safety in implementing projects to transform their immediate environment in a sustainable way, valuing their global impact and practicing responsible consumption.

Digital Skills (DS) DS1. They carry out advanced searches on the Internet according to criteria of validity, quality, timeliness and reliability, selecting them critically and archiving them to retrieve, reference and reuse said searches with respect to intellectual property.

DS2. They manage and use their own personal digital lifelong learning environment to build new knowledge and create digital content through information processing strategies and the use of different digital tools, selecting and configuring the most appropriate depending on the task and their needs on every occasion.

DS3. They participate, collaborate and interact through virtual tools and/or platforms to communicate, work collaboratively and share content, data and information, responsibly managing their actions, presence and visibility on the network and exercising active, civic and reflective digital citizenship.

DS4. They identify risks and take action when using digital technologies to protect devices, personal data, health and the environment, and to raise awareness of the importance and need for critical, legal, safe, healthy, and sustainable use of digital technologies.

DS5. They develop simple computer applications and creative and sustainable technological solutions to solve specific problems or respond to proposed challenges, showing interest and curiosity about the evolution of digital technologies and their sustainable development and ethical use.

Personal, social and learning to learn skills (PSLLS) PSLLS1. They regulate and express their emotions, strengthening optimism, resilience, self-efficacy and the search for purpose and motivation for learning, to manage challenges and changes, and harmonize them with their own objectives.

PSLLS2. They understand the health risks related to social factors, and consolidate healthy lifestyle habits at a physical and mental level.

PSLLS3. They proactively understand the perspectives and experiences of others and incorporate them into their learning, to participate in group work, distributing and accepting tasks and responsibilities equitably and employing cooperative strategies.

PSLLS4. They can make self-assessments about their learning process, looking for reliable sources to validate, support and compare the information and to obtain relevant conclusions.

PSLLS5. They plan medium-term goals and develop metacognitive feedback processes to learn from their mistakes in the knowledge construction process.

Civic Competence (CC) CC1. They analyze and understands ideas related to the social and citizen dimension of their own identity, as well as the social, historical and normative facts that determine it, demonstrating respect for the rules, empathy, fairness and a constructive spirit in interaction with others in different socio-institutional contexts.

CC2. They analyze and assume the principles and values that emanate from the European integration process, the Spanish Constitution and human and child rights, taking part in community activities, such as decision-making or conflict resolution, with a democratic attitude, respect for diversity, and commitment to gender equality, social cohesion, sustainable development and the achievement of global citizenship.

13

Cultural awareness and expression skills (CAES)

CC3. They understand and analyze fundamental current ethical problems, critically considering their own and others' values, and developing their own judgments to approach moral controversy with a dialogued, argued, respectful attitude, opposed to any type of discrimination or violence.

CAES1. They know, critically appreciate, respect and promote the essential aspects of the cultural and artistic heritage of any era, valuing freedom of expression and the inherent enrichment of cultural and artistic diversity, to build their own identity.

CC4. They understand the systemic relationships of interdependence, eco-dependence and interconnection between local and global actions, and adopt, in a conscious and motivated way, a sustainable and eco-socially responsible lifestyle.

CAES2. They autonomously enjoy, recognize and analyze the specificities and intentions of the most outstanding artistic and cultural manifestations of heritage through their languages and technical elements, in any medium or support.

Entrepreneurial Skills (ES)

CAES3. They express ideas, opinions, feelings and emotions in a creative and open way. They develop self-esteem, creativity and a sense of belonging through cultural and artistic expression, with empathy and a collaborative attitude.

ES1. They analyze needs and opportunities and respond to challenges critically, taking stock of their sustainability, assessing the impact they may have on the environment, to present innovative, ethical and sustainable ideas and solutions aimed at creating value in the personal, social, cultural and economic spheres.

CAES4. They know, select and creatively use various media/ supports and fundamental aesthetic, visual, audiovisual, sound and corporal techniques to create artistic and cultural products through interpretation, execution, improvisation and musical composition.

They identify the opportunities for personal, social and economic development offered by such resources.

ES2. They assess their own strengths and weaknesses, making use of self-knowledge and self-efficacy strategies, and understand the fundamental elements of economics and finance, applying economic and financial knowledge to specific activities and situations, using skills that favor collaborative and team work, to gather and optimize the necessary resources to put into action an entrepreneurial experience of value.

ES3. They develop the process of creating ideas and valuable solutions and make decisions in a reasoned manner, using agile planning and management strategies, and reflect on the process carried out and the result obtained, to complete the process of creating innovative prototypes and value, considering the experience as an opportunity to learn.

The keys of the Global Thinkers Project greatly reinforce the operative descriptors of the outbound profile of Compulsory Secondary Education students as regards key competences. In the following table we can see the contribution of the Global Thinkers keys to achieving the outbound profile:

OUTBOUND PROFILE AND PEDAGOGICAL KEYS OF GLOBAL THINKERS

PEDAGOGICAL KEY ELEMENTS

STUDENT Outbound profile – COMPULSORY SECONDARY EDUCATION OPERATIONAL DESCRIPTORS LCS

MS

1

2

3

4

5

Learning situations committed to the SDGs

*

*

*

*

*

Language Plan

*

*

*

*

*

*

Cooperative learning

*

*

*

Thought development

*

*

Learning through play: gamification

*

*

*

*

Inverted class

1

2

*

MSTES 3

*

*

*

*

Digital

*

*

*

*

*

*

*

Inclusion

*

*

*

Skills assessment

5

1

2

3

4

5

1

2

3

4

5

1

2

3

4

1

2

3

1

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

* *

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

Interdisciplinary projects

*

*

*

*

* *

*

*

*

*

*

*

*

*

*

*

*

* *

*

*

*

*

*

*

*

*

*

*

*

*

*

*

* *

CAES

4

* *

ES

3

*

Entrepreneurship

CS

2

*

Emotional education

PSLLS

1

*

*

DS

* *

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

* *

* *

*

*

*

*

*

*

*

*

*

* *

*

3

4

*

*

*

*

*

*

* *

* *

*

*

* *

* *

2

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

Key skills: LCS, language communication skills. MS multilingual skills. STEM Mathematical proficiency and proficiency in science, technology and engineering. DS digital skills. PSLLS personal, social and learning to learn skills. CS civic competence. EN entrepreneurial skills. CAES cultural awareness and expression skills.

14

OUTBOUND PROFILE AND SPECIFIC SKILLS RELATED TO THE AREA It also contributes to achieving the outbound profile by working on the specific skills in each of the units. The following table shows the relationship between the specific competences of the area and the descriptors of the outbound profile of Compulsory Secondary Education with which it is related:

OUTBOUND PROFILE

SPECIFIC SKILLS

LC1, MS1, DS1, PSLLS1, PSLLS3, CC1, CC3, CAES1.

Understand the importance that different cultural and artistic manifestations have had on the development of humanity 1. Understand the importance that different cultural and artistic manifestations have had on the development of humanity, showing interest in heritage as part of one's culture in order to understand how these manifestations testify to the values and convictions of each individual and society as a whole, and showcase the need to protect and conserve these values.

LC1, MS1, DS1, PSLLS1, PSLLS3, CC1, CC3, CAES1.

Explain their own visual and audiovisual artwork, that of their peers and that belonging tocultural and artistic heritage 2. Express observations made by the students in the form of questions, formulate hypotheses to explain them and demonstrate these hypotheses through scientific experimentation, investigation and the search for evidence, to develop scientific reasoning and thought and improve skills when using scientific methodologies.

LC2, DS1, DS2, PSLLS3, PSLLS4, CC1, CC3, CAES2.

Analyze different artistic, visual and audiovisual works, including contemporary works 3. Analyze different artistic, visual and audiovisual works, including contemporary works, showing respect and developing the capacity for observation, internalization of experience and aesthetic enjoyment, to build a broad artistic culture and nurture one's own imagination.

LC2, LC5, MS1, DS2, PSLLS3, CC1, CC3, CAES2.

Explore the techniques, language and intentions of different cultural and artistic productions 4. Explore the techniques, language and intentions of different cultural and artistic productions, analyzing, in an open-minded and respectful way, both the process and the final product to discover the various possibilities they offer as a source of ideas and new responses.

CL1, MS1, DS1, DS2, PSLLS1, PSLLS3, CC3, CAES3.

Create artwork productions using creativity and imagination

MS1, DS1, DS2, PSLLS1, PSLLS3, CC1, CC3, CAES3.

Make their own the cultural and artistic references in their environment and time

LC2, STEM3, DS5, PSLLS1, PSLLS3, PSLLS4, PSLLS5, CAES4.

Apply the main techniques, resources and conventions of artistic languages

LC1, MS1, DS5, PSLLS1, PSLLS3, PSLLS5, CE3, CAES4.

Share artwork productions and manifestations

5. Create artwork productions using creativity and imagination, selecting and using tools and techniques according to the intention in order to, using appropriate tools and techniques to express their vision of the worls, their emotions and feelings and to develop their communication skills, critical reflection and self-esteem, applying rationality, empathy and sensitivity.

6. Make their own cultural and artistic references in their environment and time, becoming aware of their specific characteristics, to enrich their own creations, articulating and developing their personal, cultural and social identity.

7. Apply the main techniques, resources and conventions of artistic languages, identifying the necessary tools and skills, and creatively incorporating the possibilities offered by various technologies to integrate and use them in the design and realization of an artistic project.

8. Individually or collectively share artistic productions and manifestations made using different techniques and based on an intention, adapting the project to the instructions for its creation and taking who will be looking at it into account, evaluating the personal, social and economic opportunities offered.

15

Basic knowledge of Art, Visual and Audiovisual Education from Year 1 to 3 The basic knowledge should be applied in different real contexts in order to achieve the specific skills in the area. In the field of Art, Visual and Audiovisual Education, this basic knowledge will be developed from Year 1 to 3.

16

A

C

Artistic and cultural heritage. Aesthetic appreciation and analysis

Artistic and graphic-artistic expression.

Techniques and procedures

• Art genres throughout the history of art.

•K ey cultural and artistic manifestations throughout history, including contemporary ones and those belonging to local heritage: analysis of their formal aspects and historical context, also considering the gender perspective.

•G eometric shapes in art and in the environment.

Architectural heritage.

• Basic techniques of graphic-artistic expression techniques in two dimensions. Dry and wet techniques. Their use in art and their expressive characteristics.

•B asic techniques of graphic-plastic expression techniques in three dimensions. Its use in art and its expressive characteristics.

•T

he creative process through artistic reproduce, isolate, transform and associate.

operations:

•T

he creative process through artistic reproduce, isolate, transform and associate.

operations:

•F actors and stages in the creative process: choice of materials and techniques, making sketches.

B

• I ntroduction to plane geometry and basic geometric patterns.

Formal elements of the image and visual language. Graphic expression • Visual language as a form of communication.

• Basic elements of visual language: the point, the line and the plane. Expressive and communicative possibilities.

• Visual elements, concepts and expressive possibilities: form, colour and texture.

• Visual perception. Introduction to perceptual principles, elements and factors.

•C omposition. Concepts of balance, proportion and rhythm applied to the organization of forms on the plane and in space.

D Image, visual and audiovisual communication •L

anguage and visual communication.

Purposes: informative, communicative, expressive and aesthetic.

Contexts and functions.

• Visual and audiovisual images: reading and analysis.

17

Inclusion in Global Thinkers

Access

Universal Design for Learning (UDL) is a set of principles for developing curriculum that provides all students with equal opportunities to learn. These principles are as follows:

Provide multiple methods of

Provide multiple methods of

Provide multiple methods of

MOTIVATION AND COMMITMENT

REPRESENTATION

ACTION AND EXPRESSION

Affective networks The ‘WHY’ of learning

Recognition networks The ‘WHAT’ of learning

Strategic networks The ‘HOW’ of learning

Provide options to capture interest

Provide options for perception

Provide options for physical action

7.1 Optimize individual choices and autonomy.

1.1 Offer ways to customize the display of information.

4.1 Vary response, navigation and interaction methods.

7.2 Optimize relevance, value and authenticity.

1.2 Offer alternatives for audit information.

4.2 Optimize access to assistive tools and technologies.

7.3 Minimize threats and distractions.

1.3 Offer alternatives for visual information.

Provide options for maintain effort and

Provide options for language and

Provide options for expression and

8.1 Highlight the relevance of goals and objectives.

2.1 Clarify vocabulary and symbols.

5.1 Use multiple mediums for communication.

8.2 Vary demands and resources to optimize challenges.

2.3 Support decoding of texts, mathematical notations and symbols.

5.2 Use multiple tools for construction and composition.

8.3 Promote collaboration and communication.

2.4 Promote understanding between different languages.

8.4 Increase teacher-oriented feedback.

2.5 Illustrate through multiple mediums.

5.3 Build fluency with graduated levels of support for practice and performance.

Provide options for self regulation

Provide options for understanding

Provide options for executive function

9.1 Promote expectations and beliefs that optimize motivation.

3.1 Activate or provide background knowledge.

6.1 Guide the setting of appropriate goals.

9.2 Facilitate skills and strategies to face challenges.

3.2 Highlight patterns, key features, main ideas, and relationships between them.

6.2 Support planning and strategy development.

9.3 Develop self-assessment and reflection.

3.3 Guide the processing, visualization and manipulation of information.

6.3 Facilitate the management of information and resources.

3.4 Maximize information transfer and generalization.

6.4 Improve the ability to monitor progress.

Internalization

Building

persistence

symbols

communication

2.2 Clarify syntax and structure.

Goal

EXPERT APPENDICES Determined and motivated

Resourceful and knowledgeable

Strategic and goal-directed

CAST 2018 (Center for Applied Special Technology).

18

UDL guidelines in Global Thinkers The different elements of the Global Thinkers Project are designed taking into account the principles of Universal Design for Learning (UDL). The following table shows the relationship between the UDL principles or guidelines and the elements of the project:

GLOBAL THINKERS

UDL GUIDELINES THAT APPLY TO THE PROJECT PRINTED MATERIAL

DIGITAL ENVIRONMENT

Learning situation SDG

The relationship with the SDGs (challenges of the 21st century) and with the daily life of students optimizes relevance, value and authenticity (7.2).

Context

•T he questions link the learning situation with the students' previous experiences and knowledge (3.1).

• I t provides objective and verifiable information on the importance of the challenge (8.1).

-

The challenge

• I t stimulates collective reflection using a useful thinking strategy which can be used to deal with everyday problems (9.2).

• I t encourages autonomy by proposing a final product open to contextualization in the center and to the choice of the students (7.1), varying the levels of demand (8.2).

•F acilitates generalization and transfer of essential learning (3.4).

• I t encourages collaboration for the realization and collective dissemination of the final product (8.3).

-

Learning sequence

Unit Closures and Portfolios of Learning Situations

Guide the achievement in an orderly way (6.1), modelling and making visible the process (6.2) with a graphic organizer (6.3).

•M aximizes the transfer of learning to new contexts and situations (3.4).

• I t incorporates activities that allow open responses that encourage experimentation, problem solving, and creativity (7.2).

• I t offers indications and support to visualize the process and the expected results for the achievement of the final product of the challenge (6.1).

• I t encourages interaction and peer tutoring using cooperative learning techniques (8.3).

Give teachers and students access to up-to-date information on the SDGs using multiple means of communication (5.1).

Makes it possible to reconstruct the learning process in an interactive way with the support of the graphic organizer that represents the progress towards the achievement of the challenge (3.3).

-

Didactic sequence Learning sequence •E ssential Learnings

• I dentifies the basic vocabulary (color, icons, typography) of each unit (2.1).

•P rovides examples of good execution and attention-grabbing prompts (3.2) minimizing insecurity and distractions (7.3).

•T he alternative representation to the text facilitates the understanding and the personal connection with the learning context (2.5).

•P rovides clear and well-structured definitions of concepts (2.2) and presents them with various types of graphic organizers that represent key ideas and their relationships (3.2) progressively between the levels of the stage (3.3).

• I ncorporates systematic practice and review actions that favor the generalization of learning (3.4).

•P roposes interactive activities for the detection of previous ideas (3.1).

• It uses audiovisual pills at the opening of the UD as a presentation of learning, promoting expectations and beliefs that increase motivation (9.1).

• Presents in each UD additional information in different formats that provide alternatives to auditory information (1.2) and visual (1.3) as alternative representations to the text (2.5): videos, graphic organizers, visual thinking, etc, usable what's more to energize the participation.

• Select the essential of each unit (3.2) and provides outlines or summaries to study: (3.3) interactive printables of basic knowledge make it possible to personalize the presentation of information (1.1).

• Complement the written text through other means such as support to present basic knowledge with presentations or videos (2.5).

19

UDL Guidelines in Global Thinkers GLOBAL THINKERS

UDL guidelines that are applied in the project PRINTED MATERIAL

DIGITAL ENVIRONMENT

Didactic sequence Learning sequence • Applicable Activities •C ompetence-based activities

Offer support to exercise basic knowledge with interactive activities traceable in each unit using support tools and technologies (4.2).

• I ncorporates activities that allow for open personal responses that encourage participation, experimentation, problem solving, and creativity (7.2).

• I t provides models and support using strategies and thinking keys that promote the processing of information and its transformation into useful knowledge (3.3).

• I t encourages interaction and peer tutoring using cooperative learning techniques (8.3).

Provides models and supports of the process and guidelines for checking the results (6.1) supporting planning and strategy development (6.2) and facilitating the management of information and resources (6.3).

• Linguistic Plan Infographics.

• ICT infographics.

Provide alternative methods for learners to access information and interact with content (4.1).

Provides alternatives for response and navigation (4.1) through videos and various technological tools (4.2) complementing the written text through multiple media (2.5).

Supplemental Resources • Flipped class

• TIC-TAC Plan •G ame room (game-based learning)

-

Use multiple tools for construction and composition (5.2).

-

Use multiple media as alternative means of expressing what has been learned (5.1).

It defines competencies with graduated support levels for practice and execution (5.3) varying the levels of demand (8.2).

Diversity and inclusion. Allows personalization of information adapting it to the different characteristics and educational needs of students (1.1) and offering sheets for adapting to the curriculum, exercise and deepening.

Evaluation activities

It stimulates self-assessment and co-assessment, providing a variety of assessment instruments and activities and the preparation of a portfolio of learning situations (9.3).

•S timulates self-assessment and co-assessment (9.3) with non-traceable interactive activities with supporting tools and technologies (4.2).

• Increases the ability to track progress (6.4): – Traceable interactive instruments and activities for hetero-assessment.

– Generator of evaluation and exercise tests by performance levels (basic/advanced) at different times of the annual programming (initial, during development, final) (5.3).

– Competence evaluation.

Unit Closures and Portfolios of Learning Situations

•M aximizes the transfer of learning to new contexts and situations (3.4).

• I t stimulates achievement and improvement through self-regulation strategies that allow facing challenges with relevant information about personal strengths and error patterns (9.2).

Instruments linked to the printable portfolio, which allow personalization in the presentation of information (1.1) in each DU, increasing the ability of students to continuously monitor their progress (6.4) through self-assessment and reflection (9.3) and the use of feedback and guiding a better execution (8.4).

• Attention to diversity

Assessment

Outbound profile and specific skills It evidences the relevance of goals and objectives by relating the curricular elements linked to essential learning (specific competencies and evaluation criteria) and the basic knowledge of each unit with the outbound profile of the key competencies of the stage in the TG (8.1).

20

Facilitates self-assessment and co-assessment by providing assessment tools for teaching practice (9.3).

UNITS

1

A world of images SPECIFIC SKILLS OF THE AREA

1. U nderstand the importance that different cultural and artistic manifestations have had in the development of humanity.

2. Explain their own visual and audiovisual artwork, that of their peers and that belonging to cultural heritage.

3. A nalyze different artistic, visual and audiovisual works, including contemporary creations.

4. Explore the techniques, language and intentions of different cultural and artistic productions.

5. Make individual or collective artwork creatively, selecting and implementing tools and techniques based on their intentionality.

6. Borrow cultural and artistic references of their own environment and time, becoming aware of their specific characteristics.

7. Apply the main techniques, resources and conventions of artistic languages.

8. Share, individually or collectivelly, artistic productions made with different techniques based on an intention.

BASIC KNOWLEDGE FROM FIRST YEAR A. Artistic and cultural heritage. Aesthetic appreciation and analysis.

• Cultural and artistic manifestations that have been key throughout history, including contemporary creations and those belonging to local heritage: analysis of their formal aspects and their historical context, also considering the gender perspective.

B. Formal elements of the image and visual language.

Graphic expression.

• Visual language as a form of communication.

• Visual perception. Introduction to perceptual principles, elements and factors.

C. Artistic and graphic-plastic art expression. Techniques and procedures.

• Basic techniques of graphic-plastic art expression in two dimensions. Its use in art and its expressive characteristics.

• Factors and stages of the creative process: choice of materials and techniques, making sketches.

D. Image and visual and audiovisual communication.

• Language and visual communication. Purposes: informative, communicative, expressive and aesthetic. Contexts and functions.

• Visual and audiovisual images: reading and analysis.

22

Based on the Royal Decree of the MEYFP See complete development of skills and basic knowledge on pages 15, 16 and 17, of this Teacher’s guide.

Digital resources Inclusion and attention to diversity Evaluation

WHAT ARE WE GOING TO LEARN? Opening page

RESOURCES IN THE DIGITAL PROJECT Video: "Visual perception".

• B oa Mistura and the intervention of urban art 1. Visual perception • The phenomenon of visual perception, factors that condition it • The laws of perception: the Gestalt theory • Visual patterns and optical illusions

PEDAGOGICAL KEYS IN THE STUDENT BOOK

SDG commitment. Goal 3 Interactive activity: "Optical instruments".

Video: "Do we all see the same?".

Simulation: "Optical illusions: the cinematographer".

Interactive activity: "Optical illusions".

Video: "Gestalt theory".

Presentation: "The laws of Gestalt".

• Representation and interpretation of images • Degrees of iconicity 2. Visual communication • Thinking and visual communication

Interactive activity: "Elements of visual communication".

Interactive activity: "Functions of images".

• Elements of visual communication

Technique: Nominal group.

Learn about professional activities that use images as a means or resource.

• The meaning of images: connotation, imaginary • The functions of images

Identify emotions to learn to manage them.

Language Plan. Skill: Writing (descriptive text).

Entrepreneurial culture: Images in art and in the media.

Art workshop. Techniques and references

Presentation "Pop art".

Technique: Timeline.

• The collage. Op art and pop art • Hannah Hoch and Richard Hamilton • Activity: Narrate your story (visual autobiography) • Activity: Customize your portfolio Reinforce your learning • Outline and vocabulary Challenges that leave a mark • Understand and apply • Think, evaluate and put your skills to the test

Interactive activity: "Test your learning".

In-depth worksheet: "Visual effects".

Worksheet: "Visual communication".

Worksheet to adapt the programme: "Visual communication".

Evaluation

23

Unit introduction In this unit, we teach images as a form of communication and representation of reality, their importance in the real world and their relationship to memory and identity. The topic invites us to reflect on the power of images around us; images we use to show who we are and that say something about us. Taking the time to think about images is important in order to find out who created them, how, and why. Images facilitate communication, but we should be critical when we analyze them. To do so, we need to know the mechanisms at work in visual perception and communication.

Resources and materials It is recommended that you first consult all of the information, plan the activities and prepare the resources that are most suitable to tailor the lessons to the unique needs and characteristics of the students.

In addition to the student's book and the teacher's guide, you will also have access to digital resources available on Anaya's website.

General suggestions PREVIOUS KNOWLEDGE AND POSSIBLE DIFFICULTIES When teaching the unit, it may be helpful to relate the contents to students' lives, with an approach based on students' prior knowledge, going over well-known issues and situations connected to the topic that they can relate to, which will make them more motivated to learn.

In this unit, it may be difficult for students to understand how tricks in perception work and how the brain simplifies what we see by creating patterns, which is why we recommend doing practical activities of simplifying (working with different degrees of iconicity) and interpreting images. (looking at their connotations).

RELATED TASKS We can use the first session to introduce the topic, go over the planned tasks and mention the resources and materials that will be necessary. Use this first unit to emphasize the description of the work methodology that will be used through the academic year.

In this unit, it would be wise to focus on the communicative possibilities of images and have students discover illusions and patterns of perception that help us understand and create our own images.

VALUES EDUCATION You should focus on encouraging students' imagination and creativity, as well as the satisfaction they will feel after doing a good job, which are aspects that must be included in their portfolio presentation. In the development of the unit, there will be an emphasis on aesthetic, intellectual, social and ethical values.

It is also important to insist on students' involvement, on their responsibility for their tasks, and to encourage them to collaborate with each other and critically observe and reflect.

24

1

A world full of images

A WORLD FULL OF IMAGES Reading and listening

SUGGESTED METHODOLOGY

Boa Mistura This example of urban art is in the narrow streets of Vila Brasilandia (Sao Paulo, Brazil). The artists are part of a multidisciplinary group of artists called Boa Mistura. The group started in Madrid in 2001, with the objective of filling the streets with colour and positive messages.

Reading the text that goes with the opening image will allow teachers to get an idea of students' knowledge before beginning the unit. We suggest having students study the image and discuss the intervention by Boa Mistura, which can be compared to other works by the same artist collective and which will allow students to recognize characteristics of the artistic style and how it relates to the unit contents.

'Art is exciting, surprising and inspiring; it is a tool for changing the world that allows us to see, think and communicate in a different way'.

1 Choose the words from the text to the definitions. narrow

multidisciplinary

tools

a) Composed of different areas of study. b) An object that helps you to complete a task. c) The opposite of wide.

We like beauty. That is why we decorate spaces, objects and even our bodies. In this work of art, the artists decorate their neighborhood and play with our perception by painting the walls of the houses.

2 Boa Mistura paints words like love, pride, beauty and strength in the favelas. Why do you think they do this?

Speaking

1

Take a photo of some street art in your neighborhood.

Tell your classmates where it is, what message it transmits and how it makes you feel.

• Research and decide what the theme of the grafitti is.

12

Urban artistic intervention, a project titled “Luz Nas Vielas” (2012) in the favelas of Vila Brasilândia (São Paulo, Brazil) by the Boa Mistura collective.

• Analyze the characteristics of the artists that you will use as an inspiration.

anayaeducacion.es Go to the SDG resource 3.4.

13

SDG commitment In the resource bank at anayaeducacion.es you will find documents related to SDG and a video on goal 3.4.

Boa Mistura, the artist collective with whom we begin the unit, is especially suitable as a way to introduce the contents related to visual perception and communication, since their works usually involve perceptive and conceptual tricks from a critical standpoint. They usullay appear in spaces that are not specifically designed for them.

The opening image is an illusion created on a street in a favela, or marginal neighborhood, in Sao Paulo (Brazil). The artists have intervened in the streets, painting the words beauty, pride, determination and love as a way to define the values of the neighbourhood. The aim is to transform its negative image through artistic intervention, being mindful of the importance of positive emotions.

Founded in Madrid in 2001, this collective has not only done interventions in Brazil, but has done them in many different parts of the world: Spain, South Africa, China, Norway... Their works stem from communal living with the people of the neighborhood, through which they can get to know their reality and thereby do interventions that help bring about social transformation.

LEARNING SEQUENCE

This unit will contribute towards achieving the goals set in the ‘Challenge’ proposed in the learning situation. The following tasks must be carried out. These tasks shall be distributed across the two steps indicated in the learning sequence: RESEARCH AND DEBATE TO CHOOSE A TOPIC, MESSAGE AND TECHNIQUE Students will look for two types of information and inspiration: • Research in their environment (neighbourhood, family, friends) to find which positive and cheerful message they need to receive. Walk the streets to see whether there is any urban art, how it is used, how it has influenced their surroundings.

• Research into an artist. It is important that the students pay attention, not only to the aesthetic part, but also to the messages and sensations that the artists transmit to them.

As a group, they will then decide on a specific message and a theme that they want to work on, using the cooperative 1-2-4-large group dynamic.

DENOTATIVE AND CONNOTATIVE ANALYSIS OF IMAGES Each student analyzes one of the selected images in two ways: • Denotative (target), taking into account what they see and basing on the basic components of images and colour.

• Connotative (subjective): analyzing the messages and sensations conveyed by the image and the relationship it has with the elements analyzed in the denotative part. Gestalt theories of perception.

This analysis will give fruit in the writing of a few lines; it should be made clear that the elements we use help to transmit the message.

25

UNIT

1

VISUAL PERCEPTION

We are able to see both increadibly small and large objects. We have invented devices to see objects the human eye cannot perceive on its own; regardless of how near or how far they are, or whether they are outside or inside of something. We use our senses to interact with our environment, objects and people. We experience emotions, learn behaviours, etc. Being able to see enables us to learn about and understand what is around us.

1.2 Look and see We have to learn to see: this includes learning how to pay attention, distinguish objects, and develop our perception.

Although our visual system is almost perfect, it is not objective. It is influenced by our experiences and memories. We don't always see what is in front of us. Sometimes we see what we want to see or what we hope to find.

1.3 Our eyes deceive us Bacteria seen through a microscope.

Solar system seen through a telescope.

Seeing is a complex process. We sometimes only see what we are familiar with, or what we want to see. For a stimulus to be perceived and stored in our memory, it must have a certain degree of intensity.

Our memories also depend on things that catch our attention or interest us. However, we perceive some things unconsciously.

Visual perception

1

1.1 From the eyes to the brain Visual perception is the impression we have of the outside world that we expereince through our eyes (one of our sense organs). Light enters through our pupils and hits the retina, where it's transformed into electric impulses. These impulses reach our brain's visual cortex via the optic nerve in about 33 milliseconds. Sometimes what we see creates a feeling which our lymbic system transforms in to emotion.

Our perception is limited. Sometimes it deceives us by deforming reality and creating optical illusions.* Optical illusions consist of a visual conflict that leads us to perceive one reality in several ways, sometimes in ways that are logically inexplicable.

SUGGESTED METHODOLOGY

In the visual perception process, the brain transforms information captured by the eye into a recreation of external reality.

Blind spot Did you know that we all have an area of the eye through which we can't see? Our brains do not receive information from this part of the eye, but we “fill in” what is missing, and therefore, we are unaware of it.

We will start by reflecting on the current excess of images and the desire people have to see and take pictures of everything, both on a scientific and personal level.

Focus on English Illusion is the same as deception, misinterpreted perception or a false belief. Discuss this with your classmates and compare the word with other languages you know.

Understand, think, search...

We can suggest that students write a text on their daily life as a way to be mindful of their activities and then gather images based on these tasks.

Reflect and answer

1 a) Look at the pictures of the bacteria and solar system. What do you see? Describe it. Do you think you can see everything? Is everything you observe real? b) Describe the images around you.

What catches your attention?

What images do you have vivid memories of? c) Look at the pictures of the ultrasound and the newborn.

What are your first memories?

Do you think that others see you as you really are?

Optical illusion created by artist Julian Beever (1959).

Ultrasound images taken before birth.

Photograph of a newborn.

We see and are seen. We are surrounded by images that we make and share. There are even images of us before we are born. Although each individual is unique, we share likenesses with others when we compare our skin colour, eye colour, etc. We have a face and a body that identify us, but we sometimes change them to look like others, or to be different.

This section, which introduces the contents of the first block, should also invite students to recognize seeing as a physical process in which different elements are involved, such as the eyes and light. Perception also implies understanding what the eyes capture; in other words, it is a cognitive action and, therefore, depends highly on what we already know. It is also related to our imagination and creativity.

Understand, think, search...

Where are you looking?

What do you pay attention to?

2 Our eyes move to focus, sweep, follow and zoom,

3 Think of a route you usually take and describe it in detail.

similar to the way cameras do in films. In groups, make a video with these movements and observe the differences between them.

Then go through it and try to describe the details you had not recalled before. Make a small photo report and present it to the class.

14

15

1.1 From the eyes to the brain This section covers the visual perception process. We can expand on it by showing images of how the eye really functions and by comparing the sense of sight to other senses.

1.2 Look and see In addition to reinforcing meaning and the correct use of language, this section analyzes curiosities about the way we perceive things. We can go over theories by Merleau-Ponty and show that our prior knowledge determines our perception of reality.

1.3 Our eyes deceive us We can find many examples of optical illusions. We can analyze photographs of the projects made by Boa Mistura and analyze how they create illusions so that their words are seen from a unique point of view.

A blind spots We can show a visual example by drawing a cross and a point separately and, covering one eye, moving them together until one of the shapes disappears. We can also discuss the blind spot that exists in the side view mirror of a car which, although it is not the same, will allow us to understand this visual aspect.

UNDERSTAND, THINK AND APPLY

1 Reflect and answer. The questions presented should lead students to distinguish different types of images, detect their quality and the amount of information they contain, distinguish ones that are real from ones that are false, ones that form part of personal memories from those that are part of collective memories , and identify those that represent them or with which they identify.

2 Where are you looking? Students should work in pairs and record or photograph their faces or the movements of the eyes when looking. We can also relate the movements of the eyes to the movement of the camera in an audiovisual production although this is a subject that will be covered in later units.

3 What do you pay attention to? This activity can be done in two phases. Firstly, ask students what they remember about their routes, without prior notice, and then, in another session, ask them for a photoreport and a more detailed description. Finally, tell them to compare them.

This activity can also be related to the projects made by Boa Mistura.

1

VISUAL PERCEPTION

UNIT

1.4 Gestalt theory of perception

1.5 The brain simplifies

At the beginning of the 20th century, a group of German psychologists, in what was known as the Gestalt school, began to study how our perception works. They established a theory of perception.

Not all houses are the same, nor are all the chairs or all people. When memorising information, the brain is able to synthesise and analyse it, moving from specific things to general concepts, creating visual thinking patterns to save time and effort.

The perception of shapes is based on the idea that the whole is greater than the sum of its parts (1). Furthermore, it emphasises the difference between the figure and the background (2). Other theories maintain that no object or being can be perceived without taking into account what is surrounding them.

1

1

1.4 Gestalt theory of perception

2 On the left, three specific images that are grouped into a general concept or visual pattern of the idea of a “chair” (right).

Some artists go even further, going from simple shapes to abstraction.

This theory states that we perceive better the simplest or most regular shapes, that we tend to group objects that are close to each other (law of proximity) and those that are similar (law of similarity); we also tend to complete shapes (law of closure).

On the left, The Grey Tree (1911) and on the right, Broadway Boogie Woogie (1942), works

by Piet Mondrian (1872­1948). This painter evolved from simple forms to the geometric abstraction of reality.

1.6 The brain creates original images

Understand, think, search...

Play with optical effects

4 Try creating an optical effect.

Draw parallel lines and cross each one of them with more parallel lines, alternating the direction of the latter so that the original lines appear to be crooked.

Law of proximity.

Law of similarity.

Law of closure.

Op art and visual effects Op art or optical art is an artistic movement that began in the 1970s. Artists from this movement created artwork that played with perception to create optical effects.

We can reproduce what we see, or combine what we see, creating different images. According to the Gestalt theory, the combination of two element leads to a different result that is greater than the two elements on their own.

Understand, think, search...

Find the essence

Blaze (1964).

Optical illusion by Zöllner, discovered in 1860.

16

Red, blue, and green Zig Zag, by Bridget Riley (1931).

Create something original

5 Look at the different images that can be associated

6 Transform an animal into something different,

with the concept “chair”. Describe other objects that belong to a single concept, explaining what they have in common, and simplify their shapes to produce a common generic image.

combining it with another animal. You can also combine it with new elements or enrich the image from your own imagination. You can make your own animal collection.

17

The term ‘Gestalt’ means ‘shape’ or ‘pattern’ in German. Gestalt theories are a fundamental basis for understanding the perception process. You can expand on the subject by finding more examples of the different laws or principles: law of simplicity, conciseness, good form, proximity, closure or continuity, similarity, symmetry, contrast or the relationship between the figure and the background.

It is important to emphasize that context and motivation directly influence perception (the law or principle of experience). Furthermore, creativity is very important as an active agent in perception and as a source for new creations and meanings. In addition to the gestalt theory, there are other theories of perception, such as the psychophysical theory developed by Gibson.

1.5 The brain simplifies The concept ‘pattern’ is similar to ‘Gestalt’: shapes perceived as similar because they have the same basic outline. Research in this field, mainly by the Bauhaus school in the first half of the 20th century, led some artists to search for universal patterns through abstraction, which can be reached by discovering the basic lines and shapes of what is in front of us.

We can introduce the works of Piet Mondrian to the students and look at works from different periods of his artistic career: from the most figurative and expressionist works, to other

26

intermediate works in which rhythm stands out, and lastly to his most abstract works. The evolution of figurative art to abstract art began at the beginning of the 20th century. This can also be taught by looking at other artists such as Theo van Doesburg or Vasili Kandinsky.

1.6 The brain creates original images Combining images without an apparent relationship is a game which helps develop creativity.

This association can be done in class with a game of chance, such as asking students to bring objects from home and combining them with those of their classmates.

Op art and visual effects Perspective tricks, simulating three dimensions or blurring images are tricks that are used to create optical illusions or visual effects. They were used by artists of the op art movement. Bridget Riley is an artist who applies these tricks to her artistic compositions which quickly began to be used in fashion. The abstract geometry of Vasarely and the perspective tricks of Escher are also good examples to show in class.

As activities to expand on this topic, students can find more information about Escher on his official webpage: www.mcescher.com. They can also see more examples of optical illusions and perception in the television show Brain Games.

UNDERSTAND, THINK AND APPLY

4 Play with optical effects. After analyzing different artists and their works, we can do this simple exercise. There are specialized books that provide practical resources.

5 Find the essence. We can use random images from an image bank and play with superimposing them by using transparencies with a design program.

6 Create something original. This activity can be done by drawing and coloring or making collages with printed images.

UNIT

2

VISUAL COMMUNICATION

Humans are social beings. Since we are aware that we can have a visible impact on others, know the importance of visual communication. The first images created by man were mere signs. They included elements like grooves in ceramic pots used for cooking, and a handprint on rocks.

Fascinated by this ability, primitive humans began to draw in a way that incorporated religious or ritual significance, such as how to hunt.

1

2.1 Visual thinking and communication Images instantaneously provide us with a large amount of information.

They invite us to dream, think and tell stories.

Visual communication is created through visual means. It is related to what we perceive with our sense of sight. In visual communication, both complex and simple images can be used.

Focus on English What symbols come to your mind when you think about London?

Perhaps you thought of some of these: a red double­decker bus, a telephone box, or Big Ben. Symbols immediately identify a culture in our minds! Discuss the symbols that identify your culture with your classmates.

Cave painting of the Cave of Hands (c. 7350 BCE) of the Pinturas River (Argentina)

SUGGESTED METHODOLOGY After reading the text, students should reflect on the importance of visual aspects in the field of communication.

Graffiti.

When a specific meaning is given to a sign, it becomes a symbol* that is recognised. With symbols, writing and the important development of images began. This, at the same time, led to the beginning of storytelling. Narratives such as the lives of kings and gods and stories of love and war; large sculptures, temples, cities and tombs were constructed to demonstrate power. Flags and coats of arms were created to identify things such as noble families, nations and groups.

Emoticons have become a simple, expressive, quick way of communicating via images.

Understand, think, search...

Say it with drawings

3 Understand, think, search...

Reflect and answer mind when you think abut the past? What do they represent? b) What do you express? What do your images represent?

Sometimes words are not enough, especially when we do not understand a language. We can always communicate with images.

Try saying something using only drawings. They must be simple and easy to understand.

Communicate emotions with a single image

1 a) What historical images come to

4

The City of London's coat of arms.

Flags from the European Union.

Design six simple images that are related to different emotions, feelings and moods. Take pictures of them and incorporate them into your collection of images to use them on social media and communicate with your friends in a quick and efficient way.

Create a symbolic image

2

Nominal group. Collect images that say something about and identify your group. Explain what they mean.

Visual communication

Using Visual thinking, we can transform ideas and messages into simple images that are easily recognisable. It is not necessary to know how to draw, to use Visual thinking.

Since the start of the 20th century, communication has advanced and we have been living in an era full of visual stimuli. Nowadays, we not only receive images, but we continuously send messages with icons, photos and videos created, reproduced and transformed by us..

18

19

Cooperative learning To create an image that identifies the group, we suggest using the “Nominal group” cooperative learning technique. The dynamics of this technique can be consulted in the project keys, in the resource bank at anayaeducacion.es.

A cademic and professional orientation If we are aware of the power of images to communicate, we can learn about professional activities that use them as a means or resource.

Emotional education Working on our emotions allows us to talk about them, identify them and learn to manage them. In this activity, we identify feelings and moods and represent them; furthermore, we recognize the role emotions play in perception and communication.

We suggest collecting images from different moments in history and having students determine what the communicative intention was behind them. We can begin by explaining how visual images, including any type of image not only those in the field of art, have been used throughout history as a means for communicating a wide variety of messages, and how they have currently reached their maximum development in the visual world through new information technology.

We can then have a discussion about the images that students often create of themselves or of their environment, the ones they use to decorate their folders, the ones they hang on their walls, wear on their clothes, have on their phones, or upload onto social media. Discuss what these images are expressing and the way in which they are shared.

2.1 Visual thinking and communication There is a direct relationship between the ability to synthesize, which is needed to draw, and the way in which we perceive through patterns. Emoticons are an example of simplification.

Visual communication is a quick and efficient way to communicate an idea but it does not encourage reflection or analysis. Art appeals directly to our emotions and, therefore, it is important to objectively analyze what we see from a certain emotional distance so as to not be persuaded by undesirable content.

UNDERSTAND, THINK AND APPLY

1 Reflect and respond. By looking at images of different historical places and moments, as well as the symbols and flags that identify them, we can make students see the powerful ability these objects have for establishing identity.

2 Create a symbolic image. To continue analyzing identity using images, we can do this simple activity. Students can also create their own images and slogans with personalized fonts, instead of finding them elsewhere.

3 Say it with drawings. This activity is not intended to be done as a graphic narrative. However, it is an introduction to this field and should be done in an intuitive way. Students can pretend to be mute and have to communicate only by drawings.

27

4 Communicate emotions with a single image. This activity allows students to personalize the emoticons they use the most. An emoticon, which is an icon that expresses an emotion, is a common way to emphasize the message in communication based on short texts. Since it is not always possible to find one that is suitable for a specific mood, we can create new ones.

2

VISUAL COMMUNICATION

UNIT

In visual communication, the communicator creates an image/message which they send to the receiver through a channel.

2.2 Elements of visual communication

2.4 The functions of images

Communication is a complex phenomenon in which there are many factors at work. The communicator feels a need to express themselves and thinks about how to do it. He/She constructs an image which expresses what they want to say, and communicates through the means they feel is most suitable. Their message has an appearance or signifier, and content or meaning.

Images are created for different purposes. We can classify them into different categories.

The receiver receives an image/message. However, to understand it, they, along with the communicator, must know the visual code and its syntax. The receiver enriches the message with their own memories, experiences, thoughts and feelings. It is possible that the message being communicated may not be understood in the same way by everyone. If the receiver feels the need to respond to the communicator, the process repeats and there is communication.

2.3 The meaning of images: visual memory and connotation All the images we perceive and store in our memory make up our visual memory. Visual memory is a collection of subjectively classified images. They're classified based on their importance or the amount of times they have happened in our lives. The images can be of friends and family members, what we admire, people, objects, places, etc. We associate these images with experiences, emotions and feelings.

1

Understand, think, search...

Look and analyse

7 What do you think is the purpose of this piece by Barbara Kruger (1945)? What could it be used for?

• Communicative images expect a response from the viewer.

Exhortative images such as a traffic light give orders. Persuasive images, such as advertising, try to convince us to do something by enticing us.

• Informative images transmit information as objectively as possible, such as layouts or maps, designs of objects or buildings.

• Expressive images evoke, suggest or express emotions, such as paintings, sculptures or films. They may also have the intention of entertaining or making you laugh, which we call playful images.

Playful images include comics, jokes or video games. Images may even be therapeutic if we use them to relax, to make us feel better or even to heal us.

• Aesthetic images are made to decorate, embellish or provide a specific style, such as the pattern of a dress, a garden, a curtain or a bracelet.

I shop therefore I am?, by Barbara

Who could the author be?

We must keep in mind that an image can have several functions, or can be created for one function, but end up having another.

8

Look at the images at the bottom half of the page. Who do you think created them? In your opinion, what was their intention?

These images are full of added meaning, unclear references and connotations. Thus, an image can have many meanings, which are not always easy to read.

5

Investigate the meaning

A single image can have very different meanings.

Ask several classmates what they see in this picture and compare their answers.

6 Paintings in the tombs of Egyptian Pharaohs weren't created to be seen by anybody. Why do you think they were painted? What do you think their meaning was?

Communicative function.

Informative function.

Expressive function.

Aesthetic function.

We must point out the importance of reciprocity between the communicator and receiver, since even when they speak the same language, the meanings of images may not be understood due to cultural or social circumstances or one's own personal experiences.

In fact, many authors dispute the connection between verbal and visual language. A clear example is the meaning of the use of black or white in different traditions. Thus, some commercial brands change their advertising techniques depending on the countries to better adapt their message to the public.

Understand, think, search...

Discover different meanings

2.2 Elements of visual communication

20

21

Linguistic plan To do the suggested communication activity, students may consult the “descriptive text” file in the resource bank on the Anaya website (www.anayaeducacion.es).

They can describe the image and discuss the possible meanings, working on their written and oral expression.

23 The meaning of images: visual memory and connotation It is necessary to highlight the importance of social and cultural context in the creation of both individual and social visual memory. Personal experiences add to this a collection of images that make up our personality and largely determine our capacity to visually perceive information.

It is crucial to invite students to reflect on similarities and differences that occur in the process of visual communication, which are based on prior information, images seen beforehand and personal experience with respect to the content.

2.4 The functions of images

E nterprising culture The first step when creating an image is to be clear on what its intention will be: an image in a work of art is not the same as one in the media or in advertising.

This will help encourage the social dimension of the enterprising culture.

The classification of the functions of images in this section is very simple as it is adapted to this educational level. It might turn out to be ambiguous or insufficient, and therefore it is important to reiterate that there can be more than one function in the same image and that functions can change depending on the context.

UNDERSTAND, THINK AND APPLY

5 Discover different meanings. This activity is proposed with the aim of seeing how one image can be perceived in different ways, depending on the individual. Choose significant images in the local or international news, artistic works, etc. and have students survey people of different ages and contexts.

6 Investigate the meaning. The difference between images created in ancient times, which had a religious or funerary purpose, and current artistic images is clear. Nowadays, images are created to transmit messages to society. It is difficult to imagine that current images are created not to be seen but to be used as a tool to communicate with a greater power.

7 Look and analyze. Artist Barbara Kruger focuses her work on the bombardment of messages in the advertising world. She often transforms common messages into others that inspire us to think differently. We can find other examples and have the class analyze them and debate them.

8 Who could the author be? A good way to know the intention behind an image is to know who created it. Although an advertisement aims to communicate values; if it is created by a company, selling will be its function. This will be entirely different if it is a counter-advertisement or if it is created by an institution for informative purposes.

Workshop istiicc wo arttist Ar

A collage is a technique that consists of pasting different elements on a support, forming a unified whole. When a collage is made with photographs, it is called a photo collage.

1

Travel through history 1

SUGGESTED METHODOLOGY

Personalise your folder

• As a support we can use thick paper, cardboard, wood or canvas.

2 Make a photo collage on your folder that represents you. Choose some personal images and others from magazines or from the media that are meaningful to you.

• Adhesive such as a glue stick or white glue. If necessary, staples or thread.

Process

Collages allow us to be very versatile, not only by mixing different types of images, but also by using different types of techniques. Vinyl glue can be applied using brushes and penetrate paper and other light objects, completely seeing into them. It is transparent when it dries. It is important that the supports are water-resistant.

You can add other elements that you feel are important.

• It is important to first make a sketch of possible ideas and then choose the most suitable one.

The collage should show interesting aspects of your personality, what you like and your hobbies; in other words, it must be an image that says something about you.

• Prepare the support and the background, which can be left as is, or be painted or decorated.

• Prepare the elements that you want to include in the collage (if necessary, you can cut them, fold them, tear or crumple them) and organise them on the background until you like what you see. Then glue them.

Reflect on the events and people that appear in your collage. Show your collage and compare it to your classmates’ collages.

Montage screen print, Bash (1971), by Eduardo Paolozzi (1944­1977).

Collages in art

Examples of personalised collages.

Richard Hamilton (1922­2011) and Pop Art

At the beginning of the 20th century, Georges Braque and other cubist artists were the first to use collages in their artwork. Several other avant­garde artists followed, such as Hannah Höch, as well as Richard Hamilton with Pop Art.

Hannah Höch (1889­1978) This German Dadaist artist and photographer is considered a pioneer in her use of collages. She made photo collages in which she mocked the elitist bourgeois style. She was also a feminist activist who defended women’s rights and spoke out against the male chauvinistic society.

Pop Art was an important artistic movement of the 20th century that challenged tradition and used images of popular culture as a way to reach out to people. As such, the main theme of Pop Art is daily life and one of the most commonly used techniques is the collage.

Collages in art

Richard Hamilton was a British artist and a pioneer in Pop Art. He created paintings, sculptures, photographs, collages and installations. In his collage Just what is it that makes today’s homes so different, so appealing?, he used images from the media to reflect the impact of television on our lives.

Beautiful young girl (1920), by Hannah Höch.

22

23

Developing thinking We suggest using the “Timeline” technique, which in this case allows us to be aware of and reflect on the role of images throughout our lives. The dynamics of this technique can be consulted in the project keys, in the resource bank at anayaeducacion.es.

28

Artistic workshop: Collage

Timeline. In groups, make a timeline of images representing your lives. Think of the most significant moments in your life and find pictures of them.

Mix the personal images with other images of people and social events that took place at the same time. You can also add comments to the images.

Materials • The most commonly used materials are pieces of paper or photographs. If we want to create collages with relief, we can use thicker materials, such as cloth, cardboard or cork.

• You can put the finishing touches on your collage by painting or writing on the collection of images and then putting on a layer of white glue or varnish to protect it and strengthen the adhesive.

UNIT

Let's create

Collage

Hannah Höch was a pioneer in this field and can be an example to show how the unique style of her collages actually reflects her own identity.

Other artists and movements which reflect on the illusions of perception, such as Escher and op art, are also suitable references, as well as pop art and new pop art, which focus on the subject of a world full of images and visual culture. Popular culture and its relationship to consumption and visual communication has been a very prolific subject in art since the 1950s. Richard Hamilton and Andy Warhol were pioneers in the use of images from advertising, or the mass media,

transforming the image by using collages or screen printing. Portraits of famous people done by Andy Warhol not only create impressive images, they also invite the viewer to reflect on the depersonalization of the people portrayed, the difference between the perceived image of them and their real lives. Nowadays, there are many artists who continue along these lines. Murakami also uses images from the visual culture, highlighting sensationalism and seduction, sometimes converting his works into a candy-like artificial and childish pastiche. His exhibition at the Palace of Versailles (France) in 2010 was very controversial, sparking a debate between tradition and modernity.

LET'S CREATE

1 Travel through history. The image that every student has of him or herself is constructed by an accumulation of many other images, such as the ones on digital media (videos, photos) or in their memory and imagination. Visual memory is selective, meaning we have greater recollection of what affects us emotionally or marks periods of significant changes or aspirations, all of which forms part of our visual autobiography.

If we decide to make this work the cover of the portfolio, it should be representative of every person and go with their personality. It is essential to insist on prior reflection, proper selection of images and to make decisions regarding the composition that are mindful and justified.

2 Personalize your folder. In artistic expression, concept and creativity are two important aspects. We must transmit a visual message that is powerful and communicates ideas in a simple yet efficient way. To achieve this, we should have students do some prior reflection, make some sketches and search for references. Afterwards, you should have them do some self-criticism and allow them time to choose the images. Have them properly plan their work and analyze it once it is finished.

Reinforce your learning

REVI EW Unit outline A WORLD OF IMAGES

Images and visual effects

UNDERSTAND AND APPLY

Learn about portraits prior to photography

Capture an optical illusion

3 When photography did not exist, a family's

1 Artists create optical illusions, but you too can

Communicating with images

capture one in a natural way by taking a picture. To do so, you must be a good observer and position yourself in the proper place. Look at the example and find another surprising image that makes you look twice.

memories consisted of portraits. Diego Velázquez painted one of the most analysed portraits in the world of art: The family of Philip IV, also known as Las Meninas. Find information on this artist and his most famous work.

Visual perception Visual communication

Look and see

Elements of communication Let's reflect together

Functions of images Our eyes deceive us

Laws of perception

The brain simplifies

The brain creates original images

4 Answer the following questions. You can discuss Look for examples of camouflage

Meaning of images

2 Many creatures in nature are able to hide themselves in their environment to avoid being seen or to trap their prey more easily. Just as in the game Where's Wally?, Chinese artist Liu Bolin (1973) camouflages himself in the city streets to criticize the lack of attention given to art. Look for other examples of camouflage.

GLOS SARY A

IZ

Aesthetic: Related to beauty.

Installation: A type of contemporary art in which the artist uses the medium (walls, floor, lights, etc.) and other objects as part of the composition.

Avant-garde: Artistic movements at the end of the 19th century and the beginning of the 20th century that experimented with new ways of expression.

Intervention: Artistic action that modifies space.

Cubism: Artistic movement that uses geometric shapes.

limbic system: Part of the brain that regulates emotions and memory, as well as other functions.

Dadaism: Artistic movement that began at the beginning of the 20th century that questioned the traditional aesthetic standards of the time and encouraged the liberation of fantasy.

Syntax: The way in which elements of an image are organized and ordered through rules or techniques.

Favela: In Brazil; a marginal neighbourhood of shanties in a city.

Visual code: The principles that give meaning to a visual message.

Street art: The type of art that uses the city as a support for its creations.

Visual cortex: The part of the cerebral cortex (nerve tissue that covers the cerebral hemispheres) that processes visual stimulation.

them with your classmates. Then, evaluate your learning, on a scale of 1 to 5. a) Do I know the mechanism of visual perception and factors that condition it? b) Do I know the laws of the Gestalt Theory? c) Am I able to analyse what I see, such as the images that surround me? d) Do I recognise when images are not real, when they are illusions or tricks of perception? e) Have I discovered how our visual memories are different? f) Do I recognise elements of visual communication? g) Do I know how to differentiate between the different functions and the meaning of images? h) Am I able to communicate with images? i) Do I understand the differences between the representation and interpretation of images? j) Can I recognise manipulation in images? k) Have I learned about new artists, styles or artistic movements?

REFLECT, ASSESS AND PUT YOUR SKILLS TO THE TEST Groundzero, by Chinese artist Liu Bolin, in New York.

Reflect on the progress made in the learning situation throughout the unit at anayaeducacion.es.

24

25

A WORLD OF IMAGES

Images and visual effects

UNDERSTAND AND APPLY

Learn about portraits prior to photography

Capture an optical illusion

3 When photography did not exist, a family's

1 Artists create optical illusions, but you too can

Communicating with images

capture one in a natural way by taking a picture. To do so, you must be a good observer and position yourself in the proper place. Look at the example and find another surprising image that makes you look twice.

CHECK YOUR PROGRESS

Visual communication

Elements of communication Let's reflect together

Functions of images Our eyes deceive us

Laws of perception

The brain simplifies

The brain creates original images

4 Answer the following questions. You can discuss Meaning of images

Look for examples of camouflage 2 Many creatures in nature are able to hide themselves in their environment to avoid being seen or to trap their prey more easily. Just as in the game Where's Wally?, Chinese artist Liu Bolin (1973) camouflages himself in the city streets to criticize the lack of attention given to art. Look for other examples of camouflage.

GLOS SARY A

IZ

Aesthetic: Related to beauty.

Installation: A type of contemporary art in which the artist uses the medium (walls, floor, lights, etc.) and other objects as part of the composition.

Avant-garde: Artistic movements at the end of the 19th century and the beginning of the 20th century that experimented with new ways of expression.

Intervention: Artistic action that modifies space.

Cubism: Artistic movement that uses geometric shapes.

limbic system: Part of the brain that regulates emotions and memory, as well as other functions.

Dadaism: Artistic movement that began at the beginning of the 20th century that questioned the traditional aesthetic standards of the time and encouraged the liberation of fantasy.

Syntax: The way in which elements of an image are organized and ordered through rules or techniques.

Favela: In Brazil; a marginal neighbourhood of shanties in a city.

Visual code: The principles that give meaning to a visual message.

Street art: The type of art that uses the city as a support for its creations.

Visual cortex: The part of the cerebral cortex (nerve tissue that covers the cerebral hemispheres) that processes visual stimulation.

24

them with your classmates. Then, evaluate your learning, on a scale of 1 to 5. a) Do I know the mechanism of visual perception and factors that condition it? b) Do I know the laws of the Gestalt Theory? c) Am I able to analyse what I see, such as the images that surround me? d) Do I recognise when images are not real, when they are illusions or tricks of perception? e) Have I discovered how our visual memories are different? f) Do I recognise elements of visual communication? g) Do I know how to differentiate between the different functions and the meaning of images? h) Am I able to communicate with images? i) Do I understand the differences between the representation and interpretation of images? j) Can I recognise manipulation in images? k) Have I learned about new artists, styles or artistic movements?

REFLECT, ASSESS AND PUT YOUR SKILLS TO THE TEST Groundzero, by Chinese artist Liu Bolin, in New York.

We must always pay attention to the use of proper vocabulary and make sure expression and writing are consistent.

memories consisted of portraits. Diego Velázquez painted one of the most analysed portraits in the world of art: The family of Philip IV, also known as Las Meninas. Find information on this artist and his most famous work.

Visual perception

Look and see

At the end of the unit, we can ask students to write what they have learned, using the unit outline and final questions for help. This proposal together with the final activities serve as a self-evaluation (individually or in groups) and as a starting point for new knowledge, since knowledge is an ever-expanding realm in which students can constantly broaden their horizons. This will also help students to become aware of how to connect different knowledge, skills and values, making learning an integral experience.

Challenges that leave a mark

REVI EW Unit outline

SUGGESTED METHODOLOGY

Reflect on the progress made in the learning situation throughout the unit at anayaeducacion.es.

25

Assessment For their evaluation, students will have to turn in a portfolio in which they have incorporated everything we have worked on (from the initial ideas to the final development of the activities), including comments and reflections regarding the texts, which will remain as a report showing their learning process. In this unit, we suggest as a task that students personalize it.

Encouraging self-evaluation and co-evaluation is essential for students to develop the ability of learning to learn, value their strengths and discover the areas in which they can improve.

1 Capture an optical illusion. In this activity, students can easily understand optical effects and how easy it is to fool one's perception.

2 Look for examples of camouflage. The eye can be fooled in many different ways, and mimesis is one of them. It does not only occur in nature, but also in design and art through illusions. See the example of Liu Bolin shown in the book. In this case, the artist's work has a critical focus on that he symbolizes “disappearing” in the city, conveying the idea of a lack of consideration in society. Students can find more information on camouflage and do a presentation in class, linking it to the idea of being an individual and the idea of being considered.

3 Learn about portraits prior to photography. Because of a belief of not being recognized in the afterlife (such as in Ancient Egypt), or due to vanity, those who have been able to have portraits made of themselves have done so with the intention of making their image permanent for posterity. This was an issue of such importance that among the king's court there were painters whose only task was that of painting portraits of the king. In addition to Las Meninas, we can provide examples of other portraits by Velázquez and other artists of princes, princesses, kings, popes, and even of jesters. Many artists were portrait painters. We can even have students find images of portraits of families throughout history and analyze what they represent, what characters, scenes or moments and why.

4 We reflect together. Let's reflect together. This activity consists of a series of questions, to be discussed in groups, on the contents and artistic references of the unit.

29

REFLECT, ASSESS AND PUT YOUR SKILLS TO THE TEST At anayaeducacion.es, students have a questionnaire that will help them reflect on their own performance in the tasks proposed in this unit.

Students also have a test available at anayaeducacion.es that will help them assess their level of acquisition of the skills brought into play during the completion of the proposed "Challenge".

NOTES

30

NOTES

31

© GRUPO ANAYA, SA, 2022 - C/ Juan Ignacio Luca de Tena, 15 - 28027 Madrid.

All rights reserved. The content of this work is protected by law, which establishes prison sentences and/or fines, in addition to the corresponding compensation for damages, for those who reproduce, plagiarize, distribute or publicly communicate, in whole or in part, a work literary, artistic or scientific, or its transformation, interpretation or artistic execution fixed in any type of support or communicated through any means, without the required authorization.