Process in art & design versus end product

In the dragon and mask papier-mâché projects, you will notice the emphasis placed on experimentation with and investigation and exploration of media, techniques and the visual and tactile vocabulary of form, texture and colour through the use of form and texture concept boards. It is from these that a selection of ideas and visual and tactile effects can then be made when creating a final piece of work. If children plunge straight into creating an end- product, they are deterred from experimenting and taking risks with media, techniques and visual and tactile elements in case they “spoil” their finished piece of work. The investigatory/exploratory/experimental phase is vital in developing children’s creativity because they are free to take risks, make mistakes and have happy accidents as well as successes. It is from these experiments that children can then select and consolidate, in the confidence that they know what works and will be useful to and effective in their final piece.

One interpretation of creativity (derived from NFER 1998)

NFER (1998) CAPE-UK Project, Stage 1 evaluation report ()

Cited in Rawling, E. & Westaway, J. (2003) ‘Exploring Creativity’ in Primary Geographer-Focus on Creativity No.50, p. 7. Sheffield: Geographical Association.

Some views on process versus end-product in art & design

“Some of the most meaningful and rewarding work in art results from an engagement with process where children have been involved in first-hand experience and with experimenting and investigating prior to making.” (Moyles & Robinson 2002:146)

“The skills-based approach doesn’t inhibit creativity; it helps children to know how to create certain effects. If they have increased control and understanding of the different media, they will be able to experiment with more confidence and be empowered to express themselves.” (Fabian 2005:6)

“Many people, perhaps most in Europe and America toady think of art mainly or wholly in terms of product. To most artists this view is narrow. Although the works they see in galleries and which they themselves produce are very important, an artist’s view of art is likely to centre more on what artists do; on art as an activity or process.” (Wenham 2003:3)

“Clearly process is as important as end product, as it is only in understanding the ways in which children are thinking and working that we – and they - can assess what is happening, where the strengths, weaknesses and present and future developments may lie.” (Morgan 1993: 8)

“An essential quality of humanity is the need to find out about the nature and potential of materials. Even the youngest children seem to have an inbuilt urge to involve themselves in the physical act of hand-pushing, pulling, squeezing, building, destroying – then going through the whole process again.” (Morgan 1993:9)

“There is often the temptation to provide lots of ideas, and to encourage children to try out a bit of this and a bit of that. There may be a place for this type of work on occasion, but it should not be at the expense of planning for depth as well as breadth.” (Kear & Callaway 2000:21)

References:

Fabian, M. (2005) A skills-based Approach to Drawing: Drawing is a Class Act. Bedford: Brilliant Publications.

Kear, M & Calloway, G. (1999) Art & Design in the primary School. London: David Fulton Publishers.

Morgan, M. (1993) Art in Practice. Oxford: Nash Pollock Publishing.

Moyles, J. & robinson, G. (2002) ‘Beginning Teaching: Beginning Learning’ in Primary Education. Buckingham: Open University Press.

Wenham, M. (2003) Understanding Art. A Guide for Teachers. London: Paul Chapman Publishing.

Extract from: Peter, M. (1996) Art for all II. The Practice. pp.22-24 & 31 London: David Fulton

This extract by Peter (1996), identifies five stages in the processes of art and design upon which to base the planning of activities with children. The emphasis is on stages in the process of art and design and not just the end product.

Delivering an Art Lesson

Approaching the Lesson Practical consideration will need to be given to the following:

  • presenting pupils with a balance between developmentally appropriate new activities with repeated, familiar art experience;
  • how the art activity will build on previous experience;
  • which aspects of art-making need particular focus;
  • how pupils will be organised into groups of similar stages of growth in art;
  • how activities will be differentiated to meet individual needs;
  • how experiences in investigating and making art will link with developing pupils’ knowledge and understanding of the work of other artists;
  • how experience will link with learning across the curriculum;
  • whether it will be feasible for everyone to be engaged on art-making at the same time;
  • what opportunities will be structured that present challenges: problems to resolve, options to consider, decisions to make;
  • how best to allocate supporting staff;
  • how to pace activities to ensure smooth running of the session, with sufficient time for reflection and clearing up;
  • which materials need to be organised and/or prepared, so that they are readily available and retrievable by pupils;
  • whether access to additional space is required;
  • what kind of stimulus will be used to motivate the pupils and ‘feed’ the art experience;
  • what ‘containing’ activity will be provided whilst staff are absorbed ‘hands on’.

Conducting art activity with pupils with learning difficulties need to be meticulously planned and prepared. Once the session is in full swing, it can be very difficult to liberate supporting staff to deal with contingencies and crises that may arise. All supporting staff need to be thoroughly briefed over their role and function, and the importance and significance of the tasks that they are supervising. It stands to reason that the more supporting staff are available the more support and individual pupils may receive, and the more options the teacher may have for organising a greater range of group work. In practice, I have usually found it most viable, when working with pupils with learning difficulties, to have two main activities in flow supported by regular members of staff, and a ‘containing’ activity at which pupils may work independently, with any additional staff supporting and supervising pupils at preparation of materials and clearing up.

Ideally, in an art session involving the whole class, there will be a balance of activities, with pupils moving between different art practices (drawing, painting, collage, print-making or sculpture/3D, etc.), along the lines of an ‘integrated morning or afternoon’.

  • Pupils should have the opportunity to drawn and/or paint: these should not be compromised for the sake of working in other art forms. Most pupils will express themselves most freely through drawing and painting, in a way that enables them to integrate their experiences, thoughts and feelings, and which more truly reflects their development in art. The drawing or painting activity should give opportunity for individual free self-expression, informed by direct experiences and observation, with attention to development and control and proficiency with tools and materials.
  • A second member of staff may work with pupils exploring another art form: collage, sculpture, printing, etc. This may be towards an individual or a group piece of work, perhaps involving ‘wet’ procedures.
  • A third group of pupils may be working independently on a ‘dry’ activity, to minimise need for additional support, well away from the sink and ‘messy areas.’ This could be on a range of tasks: free drawing, sorting materials, looking at reference books, reproductions, organising resources, planning and display etc.
  • A fourth small group (supervised by a third member of staff if possible), may be engaged initially in selecting appropriate materials, and later on clearing away and restoring materials.

Developing the lesson Aims and objectives for pupils should be based on programmes of study with work in art practices pitched accordingly. An art lesson may have several stages, with opportunities for pupils to work as a whole group, in smaller groupings and independently. These are presented in figure 3.1 on a proforma for a lesson plan. The solid boxes may be pre-planned ahead of the lesson. The dotted boxes, however, are to be completed after the lesson since these are concerned with outcomes that are unknown at the outset. (*Please note this framework is good practice but needs some adapting to meet Marjon lesson planning requirements)

Stage 1: Establishing the theme

Inspiration for art-making may be prompted through:

  • A commonly recurring theme in works of art – e.g. mother and child, animals, landscape, still-life, etc.
  • A stimulus – e.g. an object, an artefact, a reproduction, a story, music, movement, souvenirs from a school visit, drama etc.
  • A new art experience – e.g. new tools and materials, a new medium, etc.
  • Linking with an aspect of topic work – e.g. water, homes, etc.

Stage 2: Explaining processes – developing a response

  • Posing challenges – a structured discussion on the theme, on possible approaches and consideration of materials.
  • Demonstrating processes – simple procedures to be repeated in small groups by supporting staff as necessary during stage 3.
  • Preparing and protecting work environment appropriately as necessary.

Stage 3: Exploring and experimenting – a consolidating a response

  • A range of activities in small groups, supervised by staff: drawing/painting: collage/sculpture/print-making; ‘dry’ containing activity (e.g. researching or free drawing independently); preparing and organising materials.
  • Direct experience: handling resources, working from observation, use of sketchbooks.
  • Initial experiments with tools and materials, testing methods and techniques, in free and structured exercises.
  • Intervention by supporting staff when pupil pauses or appears to ‘get stuck’.
  • Researching activity: further discussion, secondary reference material.
  • Discussing unforeseen problems and difficulties arising: considering alternative methods and techniques.
  • Consolidating possible resolutions and revising a line of development.

Stage 4: Selecting and creating

  • Making selections of resource/reference material, tools and art materials, informed by earlier experiments.
  • Engagement on a piece of work, intended for specific purpose – for a display, to present to others, to take home, etc.
  • Reviewing achievements in process – considering developments in light of original intention: possible modifications to work.

(At this point, consider possible movement to alternative activity – repeat stages 3 and 4).

Stage 5: Reflecting and evaluating

  • Reviewing work – completed or to be re-visited.
  • Clearing up – restoring equipment.
  • ‘Containing’ activity – pupils working independently.
  • Sharing work with others.
  • Considering work by individuals, small groups or class effort.
  • Considering possible future developments and directions.

ART LESSON PLAN

Date: / Group:
Time: / Staff groupings of pupils
Nat. Cur. Refs
Resources:
ESTABLISHING THE THEME – Looking and responding
What objectives (for the group and individuals) will the lesson address? How will pupils engage in investigating and making and knowing and understanding about art? How will pupils be motivated to want to engage in art-making? Use of a stimulus? (Object? Picture? Story? etc.) A direct experience? Link with topic work? New tools and materials? A new technique?

EXPLAINING PROCESSES – Developing a response
Structured discussion based on the stimulus/direct experience. Posing challenges for art-making: discussion and demonstration of possible approaches and consideration of tools and materials. Organising pupils into groups; preparing and protecting work environment appropriately. Selecting and organising required materials and equipment.

EXPLORING AND EXPERIMENTING – Consolidating a response
Initial experiments with tools and materials, testing methods and techniques, in free and structured exercises. Researching activity: working from observation, use of sketchbooks, handling resources, further discussions, using secondary reference materials, etc.

SELECTING AND CREATING
Selecting resources and reference materials, tools and art materials, informed by earlier experiments. Engaging on a piece intended for a specific purpose (to present to others, to take home, to display, etc.) Reviewing work in progress – possible modifications.

REFLECTION AND EVALUATION
Comments and possible future developments. Reviewing work – completed or to be re-visited.