Scope and Sequence

k
Primary Years Programme

Visual arts scope and sequence
Primary Years Programme

Visual arts scope and sequence
January 2004
International Baccalaureate Organization 2004

Previously published as draft in 1999
Organisation du Baccalaurat International
Route des Morillons 15
Grand-Saconnex, Genve
CH-1218
SWITZERLAND
The arts in the Primary Years Programme

The arts provide:
a means of communication
opportunities for becoming skillful
a means of expression of both emotional and intellectual perspectives
exposure to other cultures and other times
a means of accessing other disciplines
a vehicle for wondering, reflecting and consolidating.
The arts are important areas of learning in the Primary Years Programme (PYP). Students will learn
the disciplines of visual arts, music and drama, as well as learning about the arts (the skills and
processes involved) and through the arts (artists, perspectives, themes and ideas using the arts). In all
areas of learning, the PYP teacher values imagination, creativity and original thinking. This may be
especially evident through the arts. The creative disciplines of visual arts, music and drama are closely
connected to each other, as well as having strong links to other disciplines. The creative process is
seen as a driving force in learning through inquiry.
The arts are built into the curriculum as essential areas of learning, not added on as optional extras.
Students are required to be exposed to all three arts (visual arts, music, drama) in the PYP. Specialist
teachers are not necessarily required, although some teachers may have specific responsibilities in the
arts. School organization needs to take into account the value that the school places on the arts in the
PYP. Visual arts, music and drama are significant disciplines in their own right and are also important
sign systems for interpreting and understanding the world. Students are encouraged to consider the arts
as a means of communication and as an expressive language.
Effective implementation of the arts in the PYP involves full participation of all teachers in the
collaborative planning of units of inquiry. In practice, teachers will develop a programme of inquiry
with authentic connections while maintaining the integrity and essential character of the disciplines.
There is a natural connection between the arts and the organizing theme: How we express ourselves.
However, students understanding of the central ideas of many units of inquiry within other organizing
themes can be developed through investigation in the arts, and the arts should be integrated where
possible into other areas of the curriculum.
Creativity is at the heart of the arts. It allows for innovation, interpretation, research, analysis and
transfer. Learning through the arts has a positive influence on self-esteem and creative development,
which needs to carry over to all aspects of learning. Valuing imagination and celebrating original
thinking promotes initiative and a lifelong love of learning.
Learning through the arts provides strong links to the student profile. From an early age, students have
the opportunity to develop genuine interest, to give careful consideration to their work, to become selfcritical and reflective. They are provided with opportunities to communicate about their creative work
and to share their understanding with teachers, peers and families. Students are encouraged to develop
responsible attitudes and find appropriate ways to take action through the arts, in order to make a
difference in and to the world. Appropriate action could involve presenting, exhibiting, celebrating,
communicating and sharing in a variety of ways.
The arts are not mere diversions from the important business of education; they are
essential resources.
Elliot W Eisner, The Role of the Arts in Cognition and Curriculum, in
Arthur L Costa (ed). 2001. Developing Minds: A Resource Book for Teaching Thinking (3rd edn).
Association for Supervision and Curriculum Development (ASCD).
PYP curriculum documents: visual arts IBO 2004
8.1
Visual arts inquiry

To plan visual arts inquiry, teachers must consider the following questions.
What do we want students to learn?
What do teachers need to learn about this topic?
How best will students learn?
How will we know what students have learned?

The visual arts scope and sequence framework identifies the major expectations considered essential
in the PYP. These expectations are arranged into four strands: creative processes, elements of art
and design, visual arts in society and reflection and appreciation. Each of the strands is addressed
separately, although in practice they are interactive and interrelated elements.
In creative processes, students explore, develop and express their ideas using visual arts. In elements
of art and design, students consider the practical and theoretical aspects of art and design: line, shape,
form, colour, texture and pattern as well as balance, emphasis, rhythm, unity, variety, repetition,
proportion, tension, contrast and space. They also understand the importance of taking care of tools
and materials and are aware of health and safety aspects associated with using a variety of tools and
materials. Visual arts in society looks at the role visual arts play in their own society and in diverse
cultures, both historical and contemporary. In reflection and appreciation students study and
appreciate artworks from a range of cultures and media (including their own work) to develop their
understanding of the principles of art and design in the world around them.
Visual arts as a discipline includes the development of creative skills, verbal and non-verbal
expression, an awareness of the perspectives of others and aesthetic appreciation. Visual arts enable
students, including EAL students, to communicate in powerful ways that go beyond their spoken
language ability. Through visual arts, students can begin to construct an understanding of their
community, their environment, their own feelings and emotions and to develop their cultural
awareness.
Art and design is not just a subject to learn, but an activity that you can practise: with your
hands, your eyes, your whole personality.
Quentin Blake, Childrens Laureate. 1999.
Quoted in The National Curriculum Handbook for Primary Teachers in England.
Department for Education and Employment, and Qualifications and Curriculum Authority.
What do teachers need to learn about this topic?

The visual arts scope and sequence document should be seen as a framework to demonstrate how a
balanced visual arts programme could be put into practice in a school. We are aware that resources,
staff numbers and expertise, facilities and scheduling issues vary from school to school and all have an
impact on the implementation of a visual arts curriculum. For this reason, the specific expectations in
the document are very general. This allows teachers, both generalist and single-subject, to develop,
adapt or change the activities and assessments to suit their individual circumstances.
Visual arts are a part of everyday life. They are a form of non-verbal communication that allows us to
convey our ideas, feelings and emotions. Visual arts contribute to personal, social and physical
development. Fine motor control is developed in the use of media and tools. Wherever possible, teachers
should try to include visual arts in their teaching activities, not just in designated visual arts sessions.
8.3
Visual arts inquiry
Teachers can use the eight key concepts and related questions (Figs 5 and 6 Making the PYP happen)
to guide their own inquiry. Sample questions have been provided to show how this can be done. The
teacher may link each of the questions to one or more concepts. Some of the sample questions have
been linked to an appropriate concept as examples. By engaging in inquiry themselves, teachers will
not only achieve a deeper understanding of visual arts but will also be a model for their students by
assuming the role of teacher as learner.
The sample questions provided here should not be seen as definitive they are guidelines for teachers
to use. When teaching young students, a lot of work has to be done on the how to aspects of visual
arts. While it is acceptable to ask closed questions, they should contribute to the stages of
understanding and help students to construct their own meaning.
Personal knowledge of the subject matter is of key importance. What teachers understand themselves
will shape how well they select from activities, resources and texts available, and how effectively they
teach. The teachers personal interest in, and development of, the discipline should be maintained
through regular professional development, reading professional journals and regular contact with
colleagues who share their commitment to teaching visual arts through inquiry.
How best will students learn?

Visual arts are both active and reflective. Students should be given opportunities to reflect upon their
work and the work of others as well as being actively involved in creating. Collaborative activities
with other students (older or younger) are encouraged. This method of working is a two-way learning
process. The older student is offered an opportunity to explain and verbalize his or her own learning to
a younger student, and the younger student has a new experience.
Students should draw on a wide range of stimuli in their visual arts education: contemporary and
historical literature, music, paintings, dance, their own imagination, real-life experiences, feelings and
beliefs. Artworks develop naturally from stories. Introducing issues and stories through appropriate
literature gives them meaning and allows the students to take ownership of them. Students should be
given contact with artists as well as viewing their work. They should display their work informally as
well as formally to help develop an awareness of the audience through practical application.
A PYP visual arts classroom provides an environment that stimulates and challenges students.
Wherever possible and appropriate, links should be made with the schools programme of inquiry.
Examples of how the scope and sequence can link with the Sample programme of inquiry 2003 have
been included. The direct teaching of visual arts in a unit of inquiry may not always be feasible, but
prior learning or follow-up activities may be useful to help students make connections between the
different aspects of the curriculum. This makes the learning experience a more authentic one for the
students. Collaborative planning with the homeroom teacher is especially important when singlesubject teachers have responsibility for teaching visual arts in a school.
How will we know what students have learned?

Assessment is an integral part of effective teaching and learning of visual arts. Assessment provides
insights into students understanding, knowledge, skills and attitudes. These insights are necessary to
plan further activities that address areas of concern to the teacher and the students. There should be
ongoing formative assessments as well as summative assessments. Assessment activities should be
carefully planned, and opportunities for students to self-assess using different methods should be
included. Examples of assessments appropriate to the specific expectations are included in this
document along with sample activities and key questions.
Visual arts learning is easiest to assess when the students are participating in visual arts activities and
so one of the main strategies of assessment will be teacher observation of student performance. Every
time a student is creating or reflecting on a piece of artwork, either their own or by others, they are
participating in an activity that may be assessed. Teacher questions should be phrased so that students
8.4
Visual arts inquiry
are encouraged to try out new techniques and discuss them as they work and learn. The independent
application of a taught technique to a variety of situations allows the teacher to ascertain whether
students have transformed their new skills and knowledge into other settings. Student self-assessment
will also give teachers an indication of how students feel about visual arts and their own strengths and
weaknesses.
Record keeping should be simple and readily accessible to the teacher and the student. In addition to
selected pieces of artwork, both in progress and completed, teacher observations, rubrics and selfevaluations can be used as examples of significant development and could be included in the students
portfolio.
* See glossary for explanation of italicized terms.
8.5
Glossary of PYP visual arts terms

appliqu
A technique of decoration in which fabric is attached to another material

to make pictures or patterns.
architect
A person who designs buildings and structures.
artifact
A man-made object, typically one that is of cultural or historical

significance.
ceramics
Articles made from clay.
charcoal
A black solid, used for drawing, formed when wood is burned in the
absence of air.
collage
A technique in which the artist glues material such as paper, cloth or

found objects onto a background.
comic strip
A sequence of drawings that tell a story.
commercial signage
Signs used in advertising and selling.
contemporary art
The art of today; the methods, styles and techniques of living artists.
contour drawing
A single line drawing which defines the inner and outer forms (contours)
of objects or people.
creative process
The process related to producing an artwork; starting with the original

idea and following it through to completion.
drawing
A sketch, plan, image or diagram created to develop an idea or as an end

in itself.
EAL
English as an additional language.
folk art
Relating to the traditional art of a culture or nation.
gallery
A place where art is exhibited and sold.
gallery walk
The opportunity to view work displayed in the classroom or other part of

the school (as if visiting an art gallery).
illustration
A picture in a book or newspaper.
IT
Information technology.
Jack-o-lantern
A carved-out pumpkin with a small light inside. Often used at

Halloween.
keyhole mount
A mount that shows only a small section of the picture or object on

display.
8.7
medium
(plural media)
Materials commonly used to make artworks including 2-D media (ink,

paint, paper) and 3-D media (clay, wood, metal and plastic).
memorabilia
Objects collected for their historical interest, especially those to do with

memorable people, places or events.
mobile
A decorative structure, suspended in the air so that it can move freely.
montage
A picture made by combining elements such as photographs and

magazine cuttings, either whole or in part.
mural
A wall painting.
native art
The artwork associated with a country or region.
negative space
The area around the objects in a drawing or painting, often called the
background. It may also be a void or hole in a sculpture.
painting
The process or the artwork produced when using paint.
pastel
A crayon made with powdered colour, bound together with oil or resin.
pattern
An element of design in which lines, colours or shapes are used to show

real or imaginary things. It can be achieved by repeating a line, shape or
colour.
photograph
A picture made using a camera.
positive space
The objects in a work of art, as opposed to the background.
poster
A large printed picture, notice or advertisement.
primary colour
The colours that can only be derived from nature and not mixed
(red, blue and yellow). They can be used to mix all the other colours.
printmaking
Marking a surface with a coloured design or pattern.
quilt
A knitted or fabric bedspread with decorative stitching.
rubbings
A technique that transfers the textural quality of a surface to a piece of

paper by placing the paper over the textured surface and rubbing the top
with a crayon, pencil etc.
sculpture
A 3-D representation often made from carved stone or wood.
sketch
A form of drawing that is usually completed quickly without details and

without erasing. It may be used as a plan or reference for future work.
sketchbook
A pad of drawing paper for sketching on.
source material
Objects found in the locality that can be used as tools or media in making
artworks.
8.8
stamp
An object to which paint or ink is applied and then pressed onto a surface
resulting in a positive image. Can also be described as a printing block or
plate.
statue
A carved or cast figure of a person or animal, especially one that is lifesized or larger.
storyboard
A planning tool for visually sequencing ideas to be incorporated into

story writing.
tableau
A silent and motionless group of people arranged to represent a scene. It

may be drawn, painted or dramatized (known as a tableau vivant or
living picture).
technique
A particular way or method of using tools or materials to achieve a

specific effect.
textile
Cloth or woven fabrics.
texture
An element of design that refers to the surface quality of an object, for

example, rough, smooth, soft.
three-dimensional
(3-D)
Artwork that produces a solid (3-D) product, for example, sculpture,

model making, woodworking, needlecrafts.
tie dying
A method of producing textile patterns by tying parts of the fabric to

shield it from the dye.
two-dimensional
(2-D)
Artwork that produces a flat (2-D) product, for example, painting,

drawing, printing.
viewfinder
A camera-like instrument for viewing and focussing.
weaving
A way of forming fabric by interlacing threads passing in one direction

with others at a right angle to them.
word wall
Word lists connected with particular topics on large charts prominently

displayed in a classroom.
8.9
Recommended resources
Teachers involved in developing the visual arts scope and sequence have suggested the following
resources.
Barnes M. 2001. Starting Points in Art (A World of Display series). Belair Publications Ltd.
Brooks MG. 1985. Images: Printmaking. Learnx Press Toronto.
Martin E and Meyer V. 1998. Female Gazes. Seventy-Five Women Artists. Sumach Press.
Murphy P, Neill W and Exploratorium (San Francisco). 1993. By Natures Design. Chronicle Books.
Web sites
www.artkidsrule.com
www.accessart.org.uk
www.artkids.co.uk
www.naturalchild.com/gallery
8.11
Visual arts scope and sequence overview

In addition to the following strands, students will have the opportunity to identify and reflect upon big ideas by making connections between the questions asked and the concepts that drive the inquiry.
They will become aware of the relevance these concepts have to all of their learning.
Strand
Creative
processes
By the end of this age range, children aged 35 will:
By the end of this age range, students aged 57 will:
use art to express themselves

use a variety of different starting points for artwork
recognize that art may be used for individual/group
including the immediate environment and their own

experiences (memories, imagination and dreams)
use different media to create and explore ideas
produce 2-D and 3-D works of art.
Elements of
art and
design
expression
recognize the different stages of the creative process
(beginning, middle and completion)
be introduced to sketchbooks as a means of recording and
developing their work
respond to the artwork of others as a starting point for
their work
use a variety of media, including IT, to explore and
express ideas.
recognize that other people express themselves using art,
become increasingly independent in the realization of the
in a variety of styles
become more familiar with the different stages of the
creative process, from generating the initial ideas to the
completion of an idea or piece of work
continue to use sketchbooks as a reflective tool to record
ideas and observations
use a variety of media, including IT, to explore and
express ideas
produce 2-D and 3-D works of art that communicate ideas
(thoughts, feelings, experiences) for specific purposes and
to specific audiences.
be introduced to the different elements in art and design
develop an understanding that the choice of different tools
demonstrate understanding of the proper and controlled
and freely experiment with these

be introduced to a variety of tools, materials and
techniques
begin to manipulate materials with a purpose.
and materials results in different outcomes

begin to be aware of the different elements of art and
design and how these elements create specific effects, for
example, colour to express emotion
identify elements of art and design and begin to describe
how the elements are used by artists
sharpen powers of observation.
use of art tools, materials and techniques, singly and in

combination
begin to discover the interrelationship between the
different elements and principles of art and design.
creative process
use sketchbooks as an everyday tool to reflect, to discover
and to develop personal interests, and as a source of

ongoing information
combine and use a variety of media, including IT, to
explore and express ideas
incorporate visual arts (2-D and 3-D) into the PYP
exhibition.
continue to develop sensitivity, skill and understanding of
the elements and principles of art and design

identify the elements and principles of art and design and
use them in appropriate ways when producing and

responding to works of art.
understand the importance of taking care of tools and materials and be aware of health and safety aspects associated with using a variety of tools and materials.
Visual arts in
society
Reflection
and
appreciation
be exposed to and respond to a wide range of objects,
be aware that individuals and cultural groups work with a
develop an awareness and appreciation that there are
images and artworks

be exposed to art forms associated with special events,
festivals and holidays throughout the world.
variety of styles and purposes

investigate the purposes of objects and images in past and
present cultures and identify contexts in which they were
or are made, viewed and valued.
multiple perspectives in how artworks are made, viewed

and valued
develop a sense of the chronology of art history
be exposed to a range of contemporary art and artists
describe how artists working in different styles and media
and in different historical periods have used the elements
of art and design and/or tools, materials and techniques.
explore how art can be used as another language to
begin to understand that individual responses, thoughts
express and communicate personal ideas, thoughts and

emotions
begin to discuss their artwork and the artwork of others.
and ideas are valued when viewing and reviewing their

own and other artists works
identify the strengths and areas for improvement in their
own and others artwork
become aware that different art styles were produced at
different times in history
realize the importance of reflection and the influence this
has on the development of their work.
recognize individual, community and social uses of art

compare works on a similar theme from various periods
and cultures
be exposed to both western and non-western male and
female artists
understand and appreciate career opportunities as an artist
and interview, research and share information about

artists.
use specific art vocabulary when discussing artworks

develop skills in analysing, interpreting and evaluating
appreciate art as a form of communication and as an
meaning in the artwork created by others and in their own

work
be aware of art in their own and different environments
take time to reflect on their artwork
solve artistic problems.
develop a sensitivity to artistic works

be aware that people have used artwork as an expression
expressive language in its own right

of their feelings or as a response to a situation
develop a critical awareness of their own environment and
the place of art within it

begin to think and behave like an artist.
8.13
Subject: visual arts
Age range: 35 years
Page 1 of 3
Overall expectations
Children will enjoy working both individually and in small groups. They will begin to develop an understanding of the varied functions and uses of different materials and tools. They will learn
to choose the best materials and tools for a particular task and to care for them appropriately.
Children will have the opportunity to identify and reflect upon big ideas by making connections between the questions asked and the concepts that drive the inquiry. They will become aware
of the relevance these concepts have to all of their learning.
For the purpose of this scope and sequence, the strands have been grouped as follows (adapted from Fig 12 Making the PYP happen): creative processes, elements of art and design, visual
arts in society and reflection and appreciation.
* See glossary for explanation of italicized terms.
Content
What do we want children to learn?
Specific expectations
The specific expectations may be
addressed in any order or
combination.
Creative processes
Children explore, develop
and express their ideas using
visual arts.
How best will children

learn?
How will we know what

children have learned?
Notes for teachers
Sample questions
Sample activities
Sample assessments
Resources and comments
Questions that address the key

concepts (Fig 5 Making the PYP
happen) challenge learners and
promote genuine understanding.
Sample questions can be linked
to a key concept. Some examples
are noted below in bold.
All activities encompass some, or

many, of the specific expectations
and transdisciplinary skills
(Fig 14 Making the PYP happen).
Assessments should be directly

related to the specific
expectations. Children should be
given the opportunity to
demonstrate their understanding
in a variety of ways.
Teachers should find ways to

ensure EAL learners understand
tasks and expectations.
How can you show yourself

feeling angry/sad/happy/
frightened? function
Children engage in a variety of

activities, some of them selfdirected. Small groups of
children work together, to
make a large 3-D model.
The teacher makes anecdotal

notes based on the skills the
children are demonstrating.
The teacher collects samples
of their work to reflect
childrens skills and from time
to time collects comments
from children. The teacher
takes photographs of children
working and with their work,
as a reference for both children
and teacher.
When relevant, the teacher

should talk to the children
about their work and try to
guide the discussion to reflect
the childrens level of
understanding. The teacher
should also attempt to extend
childrens understanding by
thoughtful questioning.
Children will:
use art to express themselves
Children mix colours at a table,

trying to match the colours of
natural objects, and talking
with their peers as they work.
Children discuss the results.
The teacher will be aware of

and recognize the stages of
artistic development in the
children. Tasks set will be at
a level to reflect them and
extend them.
use a variety of different
starting points for artwork
including the immediate
environment and their own
experiences (memories,
imagination and dreams)
use different media to create

and explore ideas
produce 2-D and 3-D works

of art.
How do you think this flower

would look if you were the
size of an ant? perspective
Can you make a painting of
your family? your visit to
the dentist? your favourite
holiday? a magical animal?
Which materials/tools would

you like to use? form
An insects point of view

Imagine you are taking a
close-up picture of a flower or
piece of fruit, as if you were an
insect landing on it. Draw
anywhere on the paper.
The teacher continues to make

notes as the children work, and
discusses their responses
based on the skills being
developed. The teacher keeps
a record of the childrens
development. This can be
supported by the childrens
own comments.
Use keyhole mounts to isolate

sections/parts of objects/
paintings.
Samples of work to
demonstrate development
over a period of time can be
collected and added to
childrens portfolios.
Children work at a table where

there are clay boards, a range
of tools, and lumps of clay.
They squeeze the clay,
pressing objects into it,
smoothing and marking the
surface.
Children may work on a

particular topic or they may
just enjoy their exploration of
clay. They will be able to
recycle their pieces when
they have finished.
A small group of children

work with pieces of hessian,
large plastic needles and
threads, making patterns with
the threads and gaining control
over the tools.
Children who have more

experience might work on a
chosen or directed topic.
Children construct models

with large materials such as
cartons, tubes and boxes.
The units of inquiry What

can I use this for? and
Exploring materials in the
Sample programme of
inquiry 2003 have many
opportunities to include
visual arts.
Following an outing, children

take turns to construct a large
model or collage that reflects
the experience. Another group
might make and decorate large
or small books about the visit.
8.15

Content
Age range: 35 years

combination.
Elements of art and design

Children consider the
practical and theoretical
aspects of art and design:
line, shape, form, colour,
texture and pattern as well as
balance, emphasis, rhythm,
unity, variety, repetition,
proportion, tension, contrast
and space.
Page 2 of 3
learn?

Notes for teachers
Sample questions
Sample activities
Sample assessments




Can you make thick/thin

marks with these materials?
Children use viewfinders or

magnifying glasses to look
more closely at source
materials or artifacts.
Children will:
be introduced to the different
elements in art and design
and freely experiment with
these
Are these materials the best

ones for your task, and why?
reflection
What do you think the texture
of this object is?
Children understand the

importance of taking care of
tools and materials and are
aware of health and safety
aspects associated with using
a variety of tools and
materials.
The teacher assesses childrens

responses through practical
activities or written work.
Some source material might

require handling in order to
discover its properties.
Children can work on a variety

of tasks of different sizes and
can select the most suitable
tools for the job.
The classroom will be set up

with a variety of first- and
second-hand source materials
with work (both completed
and in progress) displayed
and labelled in a thoughtful
manner.
Can you feel the texture of

this piece of bark/cloth?
Art-related activities might be

taking place in only one area
of the classroom, particularly
if there is limited space and
the children are working on
activities that require more
messy materials.
What does it feel like? form

What colours can you see?
be introduced to a variety of
tools, materials and
techniques
If we are to create this piece,

which materials/objects/tools
do you think would be the
most useful?
Where do these materials
belong? function
Have you tried all these
brushes before making up
your mind which will be the
most useful for your task?
responsibility
begin to manipulate
materials with a purpose.
Can you make all the colours

in this ?
Which colours do you need to
mix together?
Children work in groups or

individually. They are involved
in their tasks, either self-chosen
or teacher-directed. They talk
quietly when relevant.
Children can distinguish a

drawing from a painting,
sculpture or photograph and
can talk about the different
materials the artist used.
When difficulties arise, children

attempt to solve their problems
for themselves or discuss them
with peers and then the teacher.
They are supportive of their
peers when discussing work
and take time to make positive
suggestions.
Children can look at each

others work and accept that
it demonstrates a wide variety
of equally valid styles.
Children brush one primary

colour on one hand, then brush
another colour on the other
hand. They rub their hands
together to mix them and
observe what happens.
Children are able to make

accurate predictions, for
example, red and yellow make
orange, as they increase their
knowledge.
What do you think happens if

you mix them?
Can we name the main
colours we see?
What kind of marks will these
make?
What would you like to make
with the clay?
Children explore materials by

patting, stroking, poking,
squeezing, pinching and
twisting.
A variety of materials such as

sand, plasticine, play dough
and clay should be available
for children to explore.
8.16

Content
Visual arts in society

Children look at the role
visual arts play in their own
society and in diverse
cultures, both historical and
contemporary.
Age range: 35 years


learn?

Notes for teachers
Sample questions
Sample activities
Sample assessments

combination.




Who do you think made this?
The class walks around the

immediate environment, takes
rubbings, records and sketches.
Children find the art in
natural objects, observing their
colours, shapes and patterns.
Children can identify different

colours, shapes, textures and
other things of interest in
artworks.
The teacher should ensure the

children are aware that art is
not only in museums but all
around them.
Children bring in something

that has a pattern. They make
a display with the collected
objects and enhance the
collection with items found in
school.
Children can explain what the

main elements of a pattern are.
Children will:
be exposed to and respond to
a wide range of objects,
images and artworks
Why do you think they made

it? causation
What makes this a pattern?
be exposed to art forms

associated with special
events, festivals and holidays
throughout the world.
Reflection and
appreciation
Children study and appreciate
artworks from a range of
cultures and media (including
their own work) to develop
their understanding of the
principles of art and design
in the world around them.
Page 3 of 3
What happens in your house/

street/town at special times?
The teacher should encourage

parents to bring in artworks
and patterns that are special
to their culture or country of
origin.
How do you think art helps us

to celebrate? connection
Children will:
explore how art can be used
as another language to
express and communicate
personal ideas, thoughts and
emotions
begin to discuss their artwork

and the artwork of others.
How would you describe the

way in which this painting is
constructed/designed?
Who am I?
Children describe their
feelings, likes and dislikes.
They respond to mood and
colour in objects and images.
They explain how their likes
and dislikes can change.
The class talks about the

illustrations in a selection of
picture books.
The unit of inquiry Who am

I? in the Sample programme
of inquiry 2003 has many
visual arts.
Children can identify features

in the artworks they see, for
example, colour, line and
shape. They can explain to the
rest of the group which parts
are significant to them and
how they are linked to their
own experiences.
8.17
Age range: 57 years
Page 1 of 4
Students will use first-hand source materials, including their immediate environment and their imagination as an inspiration for their work. They will exhibit an increasing ability to concentrate
on and complete a piece of artwork. They will discover and develop their own preferences and individual interests, which will contribute to the development of understanding and artistic vision.
They will continue to explore the use of a wide variety of materials, tools and media and will draw on their increasing knowledge and skills to express their ideas, observations and feelings.
Students will be exposed to and will respond to both western and non-western artifacts and artworks and will become familiar with the process of reflection and how to appreciate their own and
others artworks.
Students will have the opportunity to identify and reflect upon big ideas by making connections between the questions asked and the concepts that drive the inquiry. They will become aware
* See glossary for explanation of italicised terms.
Content
combination.
Creative processes
Students explore, develop and
express their ideas using
visual arts.
How best will students

learn?

students have learned?
Notes for teachers
Sample questions
Sample activities
Sample assessments



expectations. Students should be

What are some of the special

events you celebrate? form
The class collects and displays

images of group/regional/
national/international
celebrations, for example, the
Olympics, the World Cup,
United Nations Day.
Students will:
recognize that art may be
used for individual/group
expression
What are some of the ways

you dress/decorate to
celebrate special events?
connection
recognize the different
stages of the creative
process (beginning,
middle and completion)
Do you think you could tell a

story without using words?
How would you begin your
story?
How do you know when your
story has finished? function
be introduced to sketchbooks
as a means of recording and
developing their work
Why do you think people

design/invent something?
Where do you think people
get their inspiration?
How do our needs dictate
what we design/invent?
causation
Students create a simple

storyboard or comic strip that
tells a story with a beginning,
middle and end.
The unit of inquiry

Celebrate! in the Sample
programme of inquiry 2003
has many opportunities to
include visual arts.
Students present their stories

with clear evidence of
sequencing (beginning, middle
and end).
The class assembles a collection

of early storybooks, comic strips
from newspapers and
magazines, comic books and
picture books in any language, to
demonstrate the different stages
of the creative process.
The class looks at the work
of Leonardo da Vinci and
other artists and their use of
sketchbooks to record their
original ideas and create new
inventions.
Students can show and share

their own sketches with
appropriate explanations.
Students design extraordinary

vehicles in unusual/extreme/
imaginary environments in
their sketchbooks.
8.19

Content
Age range: 57 years

combination.
Creative processes (cont.)
Page 2 of 4
learn?

Notes for teachers
Sample questions
Sample activities
Sample assessments




How can you build on

existing ideas, designs or
inventions?
Students develop a time line

focused upon a particular
invention, for example, phone,
camera or car. They compare
and contrast: old and new; then
and now.
Students can discuss, draw and

identify changes over time.
They can give possible reasons
for the developments they
have noticed.
The teacher uses examples of

futuristic or fantasy machines
to promote a discussion or as
a starting point for student
inventions. Students use a
working drawing to construct
a 3-D model of a fantasy
machine using found and
recycled materials.
Students do a gallery walk of

the display. Inventions must
present process, problem/
solutions and their product
using appropriate vocabulary.
The students who are viewers
prepare and ask questions.
Students will:
respond to the artwork of
others as a starting point for
their work
Do you think it is possible to

improve upon designs over
time? reflection
use a variety of media,

including IT, to explore and
express ideas.
Which materials do you think

can be recycled into art?
function, responsibility
How do you think we can use
recycled materials to create
artworks? change
The unit of inquiry Going

places in the Sample
These videos and books have
been recommended by
teachers:
Back to the Future directed
by Robert Zemeckis.
Star Wars directed by
George Lucas.
Chitty Chitty Bang Bang by
Ian Fleming.
Charlie and the Chocolate
Factory by Roald Dahl.
20,000 Leagues Under the
Sea by Jules Verne.
The Lorax by Dr Seuss.
The unit of inquiry Reduce,
reuse, recycle in the Sample
Students collect different items

of rubbish or find objects from
the immediate environment for
use as art materials. They sort
them according to colour/texture/
shape.
Caution should be exercised

in handling any waste
materials. Gloves and
facemasks may be appropriate.
Students make new containers by

painting/appliquing on old
shopping bags/boxes/cylinders.
They produce wrapping paper
by printmaking/stamping on
newspaper.
Students create mobiles or
sculptures using wire, wood,
tin cans and found objects.

Students consider the practical
and theoretical aspects of art
and design: line, shape, form,
colour, texture and pattern as
well as balance, emphasis,
rhythm, unity, variety,
repetition, proportion, tension,
contrast and space.
Students understand the
aspects associated with using a
variety of tools and materials.
Students will:
develop an understanding
that the choice of different
tools and materials results
in different outcomes
How does your choice of

drawing tool change your
result? function
Do you think there might be
ways to combine different
media (pencil with paint,
paint with pastel, chalk with
charcoal)?
begin to be aware of the

different elements of art
and design and how these
elements create specific
effects, for example, colour
to express emotion
Who do you think will look at

your work?
Who is your audience?
Sculptures at the exhibition

Students are arranged in groups
of four. One student is the
sculptor and the other three are
the medium the sculptor uses.
Each group is given a subject,
for example, victory, fear,
peace, joy. The sculptor uses all
members of the group to create
a tableau. They all remain still
on the command, Freeze! One
by one the sculptures are
unfrozen so that they can
walk the gallery and talk to the
sculptors about their sculpture.
Students can create a sculpture

that captures aspects of a given
subject. They explain how
they used the other members
of the group and what they
think is effective.
The teacher will need to

provide oral prompts so that
the students have as much
information as possible.
8.20

Content
Age range: 57 years

combination.

(cont.)
Page 3 of 4
learn?

Notes for teachers
Sample questions
Sample activities
Sample assessments




Students will:
identify elements of art
and design and begin to
describe how the elements
are used by artists
From seed to flowerthe

fruits of your labour
Students work through from
simple contour drawing to
focusing on detail. They use
magnifying glasses and
viewfinders to isolate one
aspect and sketch a plant or
animal at different stages and
in different conditions. They
examine fish/snake skin or
butterfly wings under a
microscope to enhance and
focus on detail, or use keyhole
mounts to focus on one aspect
of the plant or animal.
sharpen powers of
observation.

Students look at the role visual
arts play in their own society
and in diverse cultures, both
historical and contemporary.
The teacher works with each

student to compile sketches
into a book. This is used to
help assess the students
powers of observation.
Students should be aware of

the concentration, patience
and care needed to produce
a careful observation.
The units of inquiry
Growing things and
Animals and their babies
in the Sample programme
of inquiry 2003 have many
visual arts.
Collect photographs and
images, of old and young
animals, new and dying
plants.
Students will:
be aware that individuals
and cultural groups work
with a variety of styles and
purposes
What is the significance of

light/earth in cultural
celebrations around the
world? perspective
In what ways do you think
people use light to show that
they are celebrating?
connection
Can you find other signs of
celebration?
investigate the purposes of

objects and images in past
and present cultures and
identify contexts in which
they were or are made,
viewed and valued.
Celebration of light
Students look at a variety of
lanterns and lamps from
different cultures, for example,
Chinese lanterns, Divali lamps,
Jack-o-lanterns. Students talk
about their purpose, their
significance, and the ways in
which they are made.
Students develop designs for a
lantern or lamp based on a
class theme. They use
appropriate construction
methods and resources relevant
to different cultures and
seasons.
Students can articulate the

significance of their lantern in
an appropriate form.

Celebrate and Home
of inquiry 2003 have many
visual arts.
Suitable materials for
constructing lamps and
lanterns include clay, rice
paper, bread dough, pumpkins
and wood.
How does the setting of the

artwork affect its size and
content?
Are the most important parts
of your artwork given the
most important space?
8.21
Age range: 57 years
Content
combination.
Reflection and appreciation

Students study and appreciate
principles of art and design in
the world around them.
Page 4 of 4
learn?

Notes for teachers
Sample questions
Sample activities
Sample assessments




What do you think a stranger

would say your artwork was
about? reflection
The class views a piece of

public artwork (sculpture,
mural, quilt) that tells a story
about the community. They
then discuss possible meanings
in the artwork.
Students begin to use specific

art vocabulary to describe
artworks.
Use a variety of assessment

strategies to accommodate
each students different
learning style and level of
intelligence. Assessment
should be drawn primarily
from the students portfolio.
Both teacher and student can
build a profile of the
students developing artistic
understanding and skills.
Students review their artwork

from earlier in the year from
their sketchbook or portfolios.
Students can discuss how they

would use new knowledge and
skills to change, improve or
rework a previous piece of art.
Student-led conferences
combined with the use of
portfolios engage teachers,
parents and students in setting
learning goals together.
Students will:
begin to understand that
individual responses,
thoughts and ideas are
valued when viewing and
reviewing their own and
other artists works
Which part of your artwork

makes you really happy?
Is there anything you could
change to make your artwork
better? change
identify the strengths and

areas for improvement in
their own and others
artwork
If you could make this

artwork again, what would
you change?
What worked well in your
artwork?
become aware that different

art styles were produced at
different times in history
Now and then

The teacher and students
express their preferences and
create a personal time capsule
at the start of the year. The
capsule will contain favourite
pieces of artwork, memories,
dreams and objects.
Students are introduced to
contemporary art. The class
discusses how the artistic
medium has changed.
The class creates a gallery of
selected images on a theme, for
example, work, play, eating at
home, city life, rural life. The
class places these images on a
decade time line.
The unit of inquiry What

was it like when you were
young? in the Sample
Teachers should try to use
grandparents or older members
of the community as a resource
for interviews, photographs
and memorabilia.
Visit sites, museums and
galleries of historical
importance in the area.
realize the importance of

reflection and the influence
this has on the development
of their work.
8.22
Age range: 79 years
Page 1 of 3
Students will establish a foundation of self-awareness about their own interests and preferences in art. They will develop this interest by exploring and experimenting with a variety of tools,
materials and techniques. Students will exhibit confidence in choosing tools and materials that are appropriate for their artworks and that reflect their growing individual creative vision. They
will exhibit greater control and purpose in their use of a variety of media and tools. They will make initial sketches and will be aware that a piece of artwork requires thought, planning, effort
and revision. They will discuss their work using specific art vocabulary and will be increasingly aware of the fact that other students and groups will produce work that varies in style and content.
Students will search beyond the classroom for resources and begin to see links with other areas of the curriculum. They will respond reflectively to the artwork of others.
* See glossary for explanation of italicised terms.
Content
combination.
Creative processes
Students explore, develop and
express their ideas using
visual arts.

learn?

Notes for teachers
Sample questions
Sample activities
Sample assessments

Sample questions can be linked to
a key concept. Some examples



What do we notice about

peoples clothing, jewellery
and hairstyles?
The class creates a montage of

photographs and images from
magazines. The montage
includes clothing and
accessories for different
purposes from around the
world.
Students will:
recognize that other people
express themselves using
art, in a variety of styles
What does it tell us about their

occupation, culture, nationality
and financial status?
connection
What is fashionable (cool)
today? perspective
How do fashions change, and
why do we think they change?
change
become more familiar with

the different stages of the
creative process, from
generating the initial ideas
to the completion of an idea
or piece of work
What makes a good design for

a building?
If we were to create a building
to add to the school, what
would we need to know before
we started? responsibility
How do we decide that a
structure is successful?
The unit of inquiry Looking

in the mirror in the Sample
Students watch a video of a

fashion show.
Students make paper dolls and
cut out clothing. They design
an outfit for:
a sports activity in a cold
country
everyday dress in a hot
country
a holiday costume.
Students can present a fashion

show using their paper dolls.
Students research the

influences that inspire artists
and architects, for example,
the work of Antonio Gaudi,
Norman Foster, Jorn Utzon.
They look at architects
sketches and initial ideas and
see how they are developed
into full-scale buildings.
Given a set of criteria students

can design a building that
would blend in with the
surroundings. They can use
construction materials such as
Lego to create their design in
3-D.
How will you record your

ideas? function
Where can you find this shape
in nature? form
What source has the artist
used as an inspiration?
causation
Teachers have suggested

students use the computer
programme SimCity to
design new landscapes and
buildings.
Consider pattern and shape

in nature, for example,
peacocks tails, snake
markings, leopards spots and
zebra stripes.
Using nature as the source

material, students make a
sketch starting from an object,
for example, a shell or a fir
cone. They then use their
sketch to design a building.
continue to use sketchbooks

as a reflective tool to record
ideas and observations
Students could also consider

the design of furniture,
jewellery and clothing in an
historical context, for example,
Dior, Wren, Hepplewhite,
Gucci, Gap and other wellknown (local) brands.
The teacher invites an architect

or designer to talk to the
students. The teacher assists
the students in preparing
questions for the visitor.
Students can interview the

visitor to discover more about
how they work.
The unit of inquiry

Architecture and design
visual arts.
Students use a magnifying

glass to make sketches of
shells, plants, pine cones and
honeycomb.
Students can take a section of

the first sketch and magnify a
detail of the drawing.
Further examples of forms

and patterns found in nature
include spider webs, bird
nests, beaver dams, beehives,
ant nests, seeds and pods.
Students study photographs

of shapes, forms and designs
in nature.
8.23

Content
Age range: 79 years

combination.
Creative processes (cont.)
Page 2 of 3
learn?

Notes for teachers
Sample questions
Sample activities
Sample assessments




Students are given a stimulus

such as a piece of music or a
poem. They discuss the
feelings and thoughts that it
generates. They select an
appropriate media to use to
express their response to the
stimulus.
Students can produce a piece

of artwork in response to a
stimulus such as a piece of
music, writing, or a theme, for
example, peace, rage, happiness,
loneliness. They can explain
how the stimulus inspired their
piece of artwork.
Students will:
use a variety of media,
including IT, to explore and
express ideas
How do you think you can take

one or more shapes and create
an artwork that satisfies you?
Can you find examples of
pattern?
produce 2-D and 3-D works

of art that communicate
ideas (thoughts, feelings,
experiences) for specific
purposes and to specific
audiences.

Students consider the practical
and theoretical aspects of art
and design: line, shape, form,
colour, texture and pattern as
well as balance, emphasis,
rhythm, unity, variety,
repetition, proportion, tension,
contrast and space.
aspects associated with using a
variety of tools and materials.
How does this piece of music

or poetry make you feel?
perspective
How can you express that in
your artwork?
Students will:
demonstrate understanding
of the proper and controlled
use of art tools, materials
and techniques, singly and
in combination
What shapes do you think

make the strongest structure,
and why? function
begin to discover the

interrelationship between
the different elements and
principles of art and design.
How can the size, shape,

adornment and placement of a
structure reveal its function?
Can you explain what makes

an interesting design, and
why? reflection
The bamboo project

Students take bamboo sticks
and join them with elastic
bands to make different shapes.
They combine these shapes to
make larger-scale structures.
Bamboo can be purchased in

different sizes. The smaller
bamboo can be used for the
experimental stages and large
lengths of bamboo for outdoor
structures. If bamboo is not
available, try drinking straws,
cardboard strips and pins.
The class collects images of

buildings and structures that
show elements of design over
time.
Students design a logo or
badge for their class, school,
town, club or team. The logo
incorporates elements of design
and symbolism.
Students can identify signs and

symbols in their immediate
environment. They design
their own logos and can
explain the significance of the
symbols used.
The unit of inquiry Signs

and symbols in the Sample
has many opportunities for
including visual arts.
This web site has been
recommended by teachers to
look at the use of signs, logos
and symbols:
www.haringkids.com
Students experiment with

printmaking using repetition
of pattern. They contrast
colours and shapes and
discover negative space and
positive space.
Students look at the role visual
arts play in their own society
and in diverse cultures, both
historical and contemporary.
Students will:
develop an awareness and
appreciation that there are
multiple perspectives in
how artworks are made,
viewed and valued
develop a sense of the

chronology of art history
How do you think colours

were created before they were
produced by modern technology
(when viewing any ancient
artwork)?
How do you think they did it
with the technology they had?
function
Students explore storytelling

through time using a variety of
different visual arts forms, for
example:
hieroglyphs
puppetry
drama
dance.
Students can tell a story using

traditional or contemporary
art forms, for example, hand
puppets, shadow puppets or
overheads, stick puppets, popup books, big books or masks.
Artworks from a variety of

different cultural perspectives
include:
Indonesian shadow puppets
Kabuki theatre (Japan)
Australian Aboriginal art
Vietnamese water puppets
indigenous masks and
symbols.
Students create a piece of

artwork using only natural or
self-manufactured tools.
Students successfully use an

agreed range of materials in
their creations.
The teacher should create

opportunities for groups of
students to investigate and
create stories.
Collect and use an assortment
of materials such as cloth,
leather, wool and wood.
Techniques such as tie dying
or stamping can be used.
8.24
Age range: 79 years
Content

combination.
Visual arts in society (cont.)
Reflection and appreciation

Page 3 of 3
learn?

Notes for teachers
Sample questions
Sample activities
Sample assessments




Students will:
be exposed to a range of
contemporary art and
artists
The teacher invites a local

artist to the classroom. The
students have an opportunity to
see the artists work and the
methods used and to ask
questions about the artwork
produced.
describe how artists

working in different styles
and media and in different
historical periods have used
the elements of art and design
and/or tools, materials and
techniques.
The class collects and displays

examples of different storytelling
art within an historical context.
The teacher should assist

students in preparing
questions for interviewing a
visiting artist/puppeteer/
illustrator.
Students will:
use specific art vocabulary
when discussing artworks
The class builds a word wall

of artistic terms and their
definitions.
Students use appropriate art

vocabulary.
Students develop an ongoing

glossary in sketchbooks as a
reference point.
develop skills in analysing,
interpreting and evaluating
meaning in the artwork
created by others and in
their own work
What do you think is happening

(when viewing a piece of
artwork or performance)?
Students view any art collection,

for example, artwork in other
classrooms, galleries, local
collections, public artworks.
Students can state their

preference for a specific work
chosen from among several on
a similar theme and explain
their choice.
Students use their sketchbooks

to draw art they see around
them in their community, or on
field visits.
Students become aware of the

variety of art that can be found
in the community and record it
in their sketchbooks.
How do you feel when you

look at it? reflection
What do the colours and
shapes remind you of?
connection
What colours, lines, and
shapes do you see?
What would you hear and
smell?
be aware of art in their own

and different environments
take time to reflect on their

artwork
Why do you like your artwork?

reflection
Why dont you like it?
solve artistic problems.
How do you think you could ?

Is there anything you would
remove from your artwork to
make it look better? change
Students create a bubble effect

using a sponge.
This aspect of reflection

is ongoing during all the
students artwork.
Is there anything you would

add to your artwork to make it
look better?
8.25
Age range: 912 years
Page 1 of 3
Students will develop confidence in seeing themselves as artists and will have a growing appreciation of their individual artistic interpretation and vision. Their responses to tasks will
demonstrate increased levels of technical detail and heightened levels of sophistication. They will continue to develop skills of observation and to seek out a variety of resources. They will be
confident in the everyday use of sketchbooks for recording observations, ideas, pattern and colour. They will choose the appropriate materials for the task, building on previous skills and
experiences when using a variety of materials. They will develop the skill of looking at artworks and artifacts from different periods and will draw conclusions and make predictions about their
function. Students will work well, both alone and in groups, and will be sensitive to the work of others, suggesting modifications and discussing reactions constructively. They will be aware of
the elements and principles of art and design and will develop a more critical stance to their own immediate environment.
*See glossary for explanation of italicized terms.
Content
combination.
Creative processes
Students explore, develop
and express their ideas using
visual arts.

learn?

Notes for teachers
Sample questions
Sample activities
Sample assessments




What resource materials do

people need to gather for the
completion of an art project?
Students create an artwork

project of their own choice.
They take responsibility for
the initial generation of ideas
and for the planning and
creating stages that follow.
Students will:
become increasingly
independent in the realization
of the creative process
Who do you need to speak to

and who would you like to
involve in the project?
responsibility
Can you anticipate the
problems you may encounter
as you work upon this
project? reflection
incorporate visual arts (2-D

and 3-D) into the PYP
exhibition.
Students can develop an

appropriate rubric with teacher
and student input.
Through self-assessment,
students can identify strengths
and areas for improvement in
their own work.
At this stage, students are

responsible for accessing
resources with support from
teachers.
The unit of inquiry
Persuasion in the Sample
An independent project such
as this could be developed
within any of the units
contained in the Sample
at this age level.
If possible, collect working
drawings and examples of
early designs from local
manufacturers.
use sketchbooks as an
everyday tool to reflect, to
discover and to develop
personal interests, and as
a source of ongoing
information
combine and use a variety

of media, including IT, to
explore and express ideas
Students develop and describe

a plan for a work of art. They
identify the most appropriate
tools, materials and techniques
for the size and scope of the
work and use them
appropriately.
Examples from the notebooks

of da Vinci, Picasso, and Van
Gogh show experimentation
as a valuable creative
process.
What media will be the best
choice for the project?
The PYP exhibition gives

students ample opportunity to
apply artistic skills and
knowledge in formulating
their projects.
8.27
Content
combination.

Students consider the
practical and theoretical
aspects of art and design:
line, shape, form, colour,
texture and pattern as well as
balance, emphasis, rhythm,
unity, variety, repetition,
proportion, tension, contrast
and space.
aspects associated with using
a variety of tools and
materials.

Students look at the role
visual arts play in their own
society and in diverse
cultures, both historical and
contemporary.
Page 2 of 3
learn?

Notes for teachers
Sample questions
Sample activities
Sample assessments




How is colour used in posters,

magazines, advertising and
other forms of print media?
function
Students collect and display a

variety of print, art posters and
advertising.
Given a range of materials,

students create a poster that is
assessed using an agreed set of
expectations.

Persuasion and I believe
in the Sample programme of
inquiry 2003 have many
visual arts.
Students will:
continue to develop sensitivity,
skill and understanding of the
elements and principles of art
and design
How do we recognize certain

brands? causation
identify the elements and

principles of art and design
and use them in appropriate
ways when producing and
responding to works of art.
Students examine a variety of

commercial art posters and
flyers appearing in media such
as magazines and newspapers
in order to identify the
elements/principles of design
(this can be done in pairs, in
groups, or as a class).
Students are able to identify

and utilize at least four
elements and principles of
design in their posters.
The art of commercial

signage or tagging can be a
subject for study.
How do you think the

principles and elements of art
and design are applied?
Which elements/principles
appear in most posters? form
Students will:
recognize individual,
community and social uses
of art
Can you think of ways in

which communities
acknowledge their heroes in
public places? function
The class organizes a field trip

to a city/town centre to
investigate or view public art,
for example, murals, statues
and locations that are named
after a famous local personality.
Students design and construct

a model that will become part
of a tableau that celebrates/
honours a selected group of
heroes.
Field trips are a good way

for students to explore public
artworks before a unit of
inquiry. Revisiting at the end
of a study gives a point of
comparison.
The unit of inquiry Heroes
visual arts.
The teacher should assemble
a large collection of images
of celebrities and personalities
from sport, politics, music,
TV and movies.
compare works on a similar

theme from various periods
and cultures
How do you think heroes

have been depicted in
historical settings?
be exposed to both western

and non-western male and
female artists
Can you find examples of

women as the creators or
subjects of hero art?
Students should participate in

Internet research if possible.
How have native peoples

depicted their heroes
throughout time? perspective
understand and appreciate

career opportunities as an
artist and interview, research
and share information about
artists.
The teacher invites local artists

to visit the class. The students
are given an opportunity to
watch a variety of techniques
and interview the artist.
Students can prepare questions

before an interview, talk or
demonstration and can reflect
afterwards on what they have
heard or seen.
Teachers should ensure a

balance of male/female artists
in a variety of roles within
visual arts (fine artists,
graphic designers, illustrators,
fashion designers, jewellery
makers, interior designers).
8.28

Content

combination.
Reflection and
appreciation
Page 3 of 3
learn?

Notes for teachers
Sample questions
Sample activities
Sample assessments




Why do you think people

visit art galleries? causation
The class takes a visit to a

local gallery or collection.
Students will:
appreciate art as a form of
communication and as an
expressive language in its
own right
Why are there art galleries?
Students can explain their

preference for specific
artworks with reference to
the artists intentions.
The unit of inquiry

I Believe in the Sample
Teachers should try and
use a wide variety of art
resources, including local
galleries and collections,
photographs, textiles,
ceramics, folk art, weaving,
manufacturing, transport,
native art, churches, castles
or old buildings.
develop a sensitivity to
artistic works
be aware that people have
used artwork as an expression
of their feelings or as a
response to a situation
Can you think of examples of

artwork that represent times
of:
peace/war
prosperity/depression
rejoicing/mourning
feast/famine.
Students develop a school

mural or large piece of
artwork for the schools public
places, such as foyers or
hallways.
How do you think works in a

gallery are selected?
Students can be invited to

leave a comment on peers
work by using a Post-it note:
I liked the way you
Can you tell me how you ?
Check safety regulations

when placing work in
hallways.
develop a critical awareness

of their own environment and
the place of art within it
begin to think and behave
like an artist.
The teacher observes students

discussing and viewing each
others work. The teacher
keeps anecdotal records,
including vocabulary and
appreciation of effort.
Teachers can promote

sympathetic viewing by
orally commenting as
students work on materials.
8.29

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k

Primary Years Programme

Primary Years Programme

International Baccalaureate Organization 2004

The arts in the Primary Years Programme

opportunities for becoming skillful

a means of expression of both emotional and intellectual perspectives

exposure to other cultures and other times

a means of accessing other disciplines

a vehicle for wondering, reflecting and consolidating.

PYP curriculum documents: visual arts IBO 2004

Visual arts inquiry

What do we want students to learn?

What do teachers need to learn about this topic?

How best will students learn?

How will we know what students have learned?

What do we want students to learn?

What do teachers need to learn about this topic?

PYP curriculum documents: visual arts IBO 2004

Visual arts inquiry

How best will students learn?

How will we know what students have learned?

PYP curriculum documents: visual arts IBO 2004

Visual arts inquiry

* See glossary for explanation of italicized terms.

PYP curriculum documents: visual arts IBO 2004

Glossary of PYP visual arts terms

A technique of decoration in which fabric is attached to another material

A person who designs buildings and structures.

A man-made object, typically one that is of cultural or historical

Articles made from clay.

A technique in which the artist glues material such as paper, cloth or

A sequence of drawings that tell a story.

Signs used in advertising and selling.

The process related to producing an artwork; starting with the original

A sketch, plan, image or diagram created to develop an idea or as an end

English as an additional language.

Relating to the traditional art of a culture or nation.

A place where art is exhibited and sold.

The opportunity to view work displayed in the classroom or other part of

A picture in a book or newspaper.

A carved-out pumpkin with a small light inside. Often used at

A mount that shows only a small section of the picture or object on

PYP curriculum documents: visual arts IBO 2004

Glossary of PYP visual arts terms

Materials commonly used to make artworks including 2-D media (ink,

Objects collected for their historical interest, especially those to do with

A decorative structure, suspended in the air so that it can move freely.

A picture made by combining elements such as photographs and

The artwork associated with a country or region.

The process or the artwork produced when using paint.

An element of design in which lines, colours or shapes are used to show

A picture made using a camera.

The objects in a work of art, as opposed to the background.

A large printed picture, notice or advertisement.

Marking a surface with a coloured design or pattern.

A knitted or fabric bedspread with decorative stitching.

A technique that transfers the textural quality of a surface to a piece of

A 3-D representation often made from carved stone or wood.

A form of drawing that is usually completed quickly without details and

A pad of drawing paper for sketching on.

PYP curriculum documents: visual arts IBO 2004

Glossary of PYP visual arts terms

A planning tool for visually sequencing ideas to be incorporated into