Pro forma Scheme Plan

Title of Scheme: Textiles Fabric

collage/appliqu and Batik combination
Investigation of the environment of the
school through close up observation beyond
the windows.

No. of Lessons: 10 (80
mins)

Total Time: 13.5 hours
Group:5
th
years

No. of Pupils: 20
Aims:
Gain Knowledge and appreciation for the following artist: Beth McCoy Evans (batik), Sea
Gypsy Studio. BlogSpot (embroidery/batik) Laura McCafferty (illustrative fabric
collage/stitching) and David Hockney (artist).
Choose area of observation through glass structures within the school that are aesthetically
interesting.
Focus on incidental observation being aware of objects further back in the distance etc
Observe objects within glass structures i.e. trees, stone bench, ceramic bird houses and
Communicate visual observation through A3 line drawing, which examines shape, composition,
proportion, middle ground, foreground and background showing depth.
Investigate different types of embroidery techniques appropriate to students work.
Experiment with a range of embroidery techniques, fabric collage and batik sampling so that
student can choose the techniques that suit them.
Learn to use Batik processes placement of 4/5 colours referring to example of David
Hockney painting, use of wax/tools, application of fabric collage and embroidery techniques.
Interpret batik by incorporating individualized style with clear, concise shapes.
Include textures in the foreground of the batik which interpret the object i.e. frayed strips of
material for hedges or plastic for a table to add realism fabric selection should be based on
the scene of observation).
Knowledge of use of sewing tools/wax pots/wooden frames/experimental dyeing.

Overall Learning Outcomes for the Scheme:
Observational skills: extract visual information from glass structures applying it to A3 line
drawing shape, composition, proportion, middle ground, background and foreground.
Create batik which employs visual stimuli, depth, texture, appropriate fabric collage and 4/5
colours relating to David Hockney painting.
Apply appropriate techniques to batik which emphasize the area of observation.
Gain understanding of the importance of the processes used in creating each stage of their
work.
Create a swatch book (10 mini samples) containing experimental work of dyeing cotton,
applying wax mark makings with dyeing effect, embroidery etc
Use of all tools/materials.

Investigating/Exploring/Creating (include illustrations, especially your own work):

INVESTIGATING/EXPLORING:
Environmental research:
I will investigate areas of the school that are appropriate for students to commence drawing. They will
be within my viewpoint. I will explain prior to drawing what the focus will be through close and
focused observation beyond the window demonstrating with easel and pencil through my drawing
and talking through what I am observing so that students understand what they have to portray in their
work. Students will choose an area of the C block, F block and main foyer of the school choosing a
view through one window which is visually interesting and has depth to it.
Drawing:
Students will create an A3 line drawing through focused observation. They will include everything they
see within the window frame using foreground, middle ground and background to guide them. They
will hone in on the object which will be the focal point and record as much information as they can. As
students are drawing, they can document on the drawing what materials could be used that might
replicate the texture of the objects ie ceramic birdhouse has a shiny surface therefore clear plastic would
be a good choice. Students must record depth, shape, scale, proportion and composition of objects.
Photocopy:
I will photocopy the students original A3 drawings so they can plan and allocate
colour/fabric/embroidery.
Tracing:
Students can use original drawing as a basis for tracing image onto cotton batik fabric using pencil.
Experimentation:
Students will experiment with batik dyes on 3x3 swatches of cotton fabric to see the colours they
will be using (4/5 David Hockney inspired colours). I will have an experimental visual aid for students
so they can see what two colours mixed together will look like). 5 swatches will be of dye and wax
experimentation of mark making and 5 swatches of embroidery/appliqu. Students will put these
swatches in a made A5 booklet as reference for their work.

CREATING:
Students will create an A3 Batik using 4/5 colours referring to one of David Hockneys paintings. I will
have pre chosen and mixed up the dyes except for one so I can demonstrate and show students how to
actually make up the dye. The students have the choice to allocate whichever colours they want on their
batik BUT it must be in sequential order of lightest to darkest and using the white of the cotton as a
base. Students will:
Refer to swatch booklet on batik swatches choosing which ones will be used
Attach batik to wooden frame
Wax over white areas of choice
Submerge batik into first lightest colour in basin of water/dye mixture
Squeeze dye/water out of batik (try not to crack the wax too much)
Dry batik with hairdryer
Wax over areas that will be kept light
Submerge batik into second colour
Dry off batik
BATIK SHOULD BE SUBMERGED TWICE AND THEN STUDENTS CAN PAINT
ON THE DYES TO THE AREAS OF CHOICE - APPLYING WAX AS THEY GO
Students will focus on area of embroidery/appliqu referring to swatch booklet, building up
texture more to the close up area. Emphasizing the depth with less embroidery. Books on
embroidery will be opened up on desks for students to refer to also.
Students will press the edges of the batik at the back with an iron, taping it and applying it to
A2 or smaller card.
Art History/critical and contextual studies: (include illustrations)
Born and raised in Washington D.C. and Maryland and greatly influenced by my
arts-loving parents, I have always found it essential to include creativity in my life,
whether it is painting, music, writing, or even cooking. In my little studio nestled in
among the pinion trees, I experimented intensively with wax and dyes. Living in
rural Colorado, I did not have easy access to any batik classes, but I've always
believed I learn best by trial and error (lots of error) so that every lesson is truly
learned. I've never had any preconceptions about what can or cannot be done with
the batik medium. I enjoy the challenge of bringing all of the facets of batik
together, the drawing and planning, the waxing, the dyeing and the over-dyeing.
Each is an art in itself. I love the element of surprise as the image begins to reveal
itself with each successive dyeing. As I continue experimenting with wax and dyes, I
find batik a lesson in patience, acceptance and the importance of process.



SeaGypsyStudio.blogspot


Laura McCafferty is a textile artist who creates fabric illustrations which reflect her ongoing fixation with people
Laura's Biennale collection is based on the theme of sub-culture and fun times.
'Overall I want to present a series of reportage artworks from a cross section of my inspirations,' says Laura.
'I am driven to capture a moment from my own personal experience and translate it to be enjoyed and questioned
by the viewer.
'Sometimes an image is random and chosen because it has made me smile but all are of real people. Subjects
within my fabric illustrations include the older generation and routines, intimate home portraits, leisure activities,
holidays, domesticity and working life.
'I use the running stitch, the most basic of all stitches. I'm interested in the quality of surface, the slight pucker
that each stitch creates on an almost flat base. The purpose is to bond fabric to fabric rather than embellish.
www.lauramccafferty.com


David Hockney (Artist)
1937
David Hockney is born in Bradford, Yorkshire, on 9 July, the son of Kenneth and Laura
Hockney and
the fourth of five children (Paul, Philip, Margaret, David and John).
195357
Studies at Bradford School of Art, where his fellow students include Norman Stevens,
David Oxtoby and John Loker. He receives a traditional training based on drawing from
life and produces figure studies, portraits and cityscapes. Exhibits and sells Portrait of
my Father at the 1957 Yorkshire Artists Exhibition at Leeds Art Gallery.

2008
Opens Tristan und Isolde at the Los Angeles Opera on January 19.
The subject matter of the East Yorkshire landscape in all its various seasons continues to
stimulate Hockney. It is a landscape he has known since he was a boy when he used to
work on a farm in the area during the school holidays. Gives his 50 canvas painting,
Bigger Trees Near Warter, to Tate Britain at a Press Conference in April. Exhibits ten of
the Woldgate Woods paintings, Looking at Woldgate Woods" at The Arts Club of Chicago
in which all the works shown were devoted to just one of the Yorkshire landscape motifs
that inspired him. Hockney begins to use the camera and large format prints as a means
of production of the multi-canvas paintings to assist in the assembly of these massive
works. His assistant photographs stages of the paintings on location and later makes
prints in the studio of the individual panels in order to view them together at a smaller
size to track the development of the painting. This method allows him to work on
location yet in context of the work as a whole.

Woldgate Woods, 20 November 2006 Felled Trees on Woldgate, 2008

ICT:
Photocopier.

Literacy:
Fabric collage, appliqu, environment, observation, Beth McCoy Evans, Laura McCafferty, David
Hockney, SeaGypsyStudio.Blogspot, embroidery, aesthetics, incidental observation, depth, distance,
composition, proportion, focus, background, middle ground, foreground, scale, batik, textures, fabric
manipulation, dyeing, wax pots, swatches, document, record, cotton, paintbrushes, salt, hairdryer, iron.
Numeracy:
A3 drawing, A5 booklet, 4/5 colours, 10 swatches, A2 card, 5 embroidery swatches, 5 batik/wax
swatches, 100% cotton material.

Teaching/Learning Strategies:

Introduce the project to the class briefly - do not overload them with too much information.
Show visual Aids of artists work, literacy and pre-dyed cotton swatches for students to refer to,
observing the different styles and techniques of the work.
Sequential step by step chart on processes of project.
Teacher demonstration throughout process from drawing/observation stage, tracing of
image to fabric, mixing of dye, application of wax/dye, embroidery techniques/appliqu
Discussion as a class on their work talking through the work whys and hows of it.
Arrange embroidery books open on tables for students to visually study and become aware of
new techniques.
Show students how to physically sew/embroider/appliqu.
Display students work on the wall as they finish it.
Peer mentoring among students.

Materials:
Wooden frames, 100% cotton material, pencils, easels, wax pots, thumb tacks, paint brushes,
dyes, basins, water, latex gloves, A3 drawing, iron, wax beads, embroidery threads, variety of
fabric, sewing needles, sewing machine, beads, buttons, embellishments, coloured threads,
newsprint, visual aids swatch book, artists work, pre-dyed cotton with mark makings in wax,
books on embroidery.

Safety Precaution:
Bags under desk
Careful use of hot wax

Differentiation:
Students who find the project hard, can choose a simplified focal point beyond the window and
compose their drawing with a focus on the shapes. They can choose small areas for embroidery if they
wish and fill the shapes with flat fabric focusing solely on the batik side of the project. Students who
find it difficult to hand-sew can use bondaweb which will bond fabrics securely together.
Quicker/stronger students can build up the focal point of their batik and create a frame/border for
their batik using appliqu technique/embroidery. Quicker students can also peer-mentor fellow
students if they wish.

Timeline/Sequence of Lessons:
Lesson 1:
Introduce myself and the three week project briefly. Bring the students out of the classroom with easels,
A3 paper and pencils- into the C block, F block and Foyer of the schoolhave students choose areas
beyond the windows in which they will focus and draw from. Allocating shape, depth, composition,
middle ground, foreground, background and scale to line drawing. Students should accomplish drawing
in double lesson today. Students A3 drawing will be photocopied for them to allocate colour in the
second lesson.

Lesson 2:
Explain the aims for todays lesson. Students will go back to their area of observation and allocate on
their drawing where the embroidery/appliqu/fabric applications will be placed. Back in class they will
observe the paintings by David Hockney to analyze the style he works in which will be similar in their
batiks. I will show students the colours in one of Hockneys paintings (4/5) which they will use in their
batik. Students can choose to allocate the colours on their photocopied drawing wherever they want.
They can choose to use all the colours or less and build up the other colours with embroidery
threads/materials etc Hockney colours will be ready for students in lesson 3 minus one as I will
demonstrate how to mix the dye for them.
Lesson 3:
Explain the aims for todays lesson. Students can finish allocating colour to photocopied A3 drawing.
Students will commence creating their A5 swatch book with experimental wax/batik work on 3x3
cotton fabric and embroidery/hand sewing/appliqu on swatches also 10 mini swatches in A5 book.
I will pre-cut the cotton swatches.
Lesson 4:
Explain the aims for todays lesson. Students will finish their swatches today. I will show students the
coloured images of batiks by the artist Beth McCoy Evans and Demonstrate the first stages of Batik
wax on white areas then submerging in lightest colour of choice. Students MUST start from lightest to
darkest using Hockneys colours. Batik must be submerged in basin completely, twice. After that,
students can wax and paint in areas with paintbrushes.
Lesson 5:
Explain the aims for todays lesson. Students will continue working on batik process referring to swatch
book as they work. Two colours at least should be applied to batik in todays lesson, depending on
how quick students work.
Lesson 6:
Explain the aims for todays lesson. Students will continue working on batik process referring to swatch
book as they work.
Lesson 7:
Explain the aims for todays lesson. Students should be nearly finished batik. Quicker students can
extract wax from the batik using brown paper and an iron.
Lesson 8:
Explain the aims for todays lesson. Quicker Students will start gathering their fabrics/materials for
embroidery and apply them to their close up section of the batik. Rest of class can continue
dyeing/painting batik.
Lesson 9:
Explain the aims for todays lesson. All students must be working on embroidery/appliqu on batik.
Choosing materials that reflect the surface/texture of objects in the batik i.e. plastic for glass surface.
Lesson 10:
Explain the aims for todays lesson. All students must be working on embroidery/appliqu on batik.
Students must complete their batik/embroidery in this lesson with time to Iron back the edges of the
batik neatly and taping it back securely. Batik will be mounted on white card.

Assessment Rubric: Textiles Fabric collage/appliqu and Batik combination Investigation of the
environment of the school through close up observation beyond the windows.

Planning/layout:
20%
Students should
demonstrate:
Drawing:
20%
Students should
demonstrate:
Technical
skills:20%
Students should
demonstrate:
Making
Batik:20%
Students should
demonstrate:
Understanding/
attitude:20%
Students should
demonstrate:

Observational skills:
Concentrated
observation of close
up focal point
beyond the window
including depth,
composition, scale,
proportion, shape,
middle ground,
background and
foreground.

Colour application on
photocopied A3
drawing apply
using
colouring pencil
to areas of choice
and to designate where
embroidery/
Appliqu will also be.

Evidence of learning:
Individualized colour
application on
photocopied drawing.
Good choice of
embroidery/appliqu
application designated to
drawing.

Concentrated
observation proof will
be seen in drawing,
comparing it to what is
beyond the window.














Sound drawing
skills A3 line
drawing showing
qualities - depth,
composition,
scale, proportion,
shape, middle
ground,
background and
foreground.

Simplified
drawing of shapes
for the weaker
students.

Evidence of
learning:
Line drawing
showing the
qualities asked
Depth,
composition,
scale, proportion,
shape, middle
ground,
background and
foreground.

Accurate and
simplified
drawing of shapes
for the weaker
students must
be clear and
concise.






Technical ability:
Developing skills
in the general use
of materials
wax,
paintbrushes,
dyes, embroidery
threads, sewing
needles etc

Experimentation-
A5 swatch-book
containing 10
swatches of
batik/wax
swatches and
embroidery/
Appliqu
swatches
measurements
3x3, showing
creativity and to a
high standard.

Evidence of
learning:
Became skillful
in use of
materials/tools
will be shown in
their work and
my observation of
them working.

A5
experimentation
booklet high
standard and
creativity are key
with how
swatches are
created.



Process:
Ability to use and
apply materials to
batik
(dyes/wax/
Embroidery)
variety.

Ability to use
processes in
sequential order
of project.

Ability to choose
appropriate
materials for
batik in
accordance to
drawing.

Independently
choose from the
David Hockney
colour palette
applying where
student chooses.

Choosing
appropriate focal
point in batik for
embroidery.

Evidence of
learning:

Appropriate
choice of focal
point of batik
and work put
into it.

Stylized use of
colour
application with
dyeing process.

Can students
perform the
process in
sequential order
Willingness to
cooperate and
contribute to
The textile
workshop.

Openness to
new subjects,
ideas
and methods

Willingness to
persevere and
overcome
creative and
technical
Challenges.

Understanding of
key drawing,
craft and
design concepts/
Process.

Evidence of
learning:
Evidence that
the student:

Is personally
engaged with
the project in all
areas as
reflected in
the full and
integrated
nature of the
work, creative
and contextual/
Critical.

Discussion
skills- can
explain some
key points on the
processes/
technique
Involved in
The project.












observation and
note of quicker
working students
will tell me this.

Ability to use
materials to the
best of their
ability creatively
and
appropriately.




Pro forma Lesson Plan

Subject of Lesson
Domain: Textiles Fabric
collage/appliqu and Batik
combination Investigation of
the environment of the school
through close up observation
beyond the windows.

Practice: bringing students out
of class a close up focus of
incidental observation beyond
the window to create an A3 line
drawing showing the following:
Shape, depth, composition,
middle ground, foreground,
background and scale.

Lesson No.: 1of 10 (80 mins)

Date: Time:


Group: 5
th
years

No. of Pupils: 20

Lesson Objectives:
Record incidental observation beyond the windows in the school
Compose an A3 line drawing which will have the following qualities: shape, composition,
middle ground, foreground, background and scale.
Observe and isolate the shapes which are observed creating depth within the drawing.
Analyze line drawing applying where textures will go i.e. stones, leaves etc


Lesson Introduction
Teacher Presentation:
STEP 1: Introduce myself and the five week
project briefly - explain todays lesson through the
lesson objectives.
STEP 2: Allocate areas outside of the classroom
for students to set up their easels/materials.
Pupil Activity:
Listen as teacher speaks.
Absorb information being provided.
Take easel, A3 paper and pencils outside
classroom.
Choose area to work, outside of the classroom- an
List Questions:
Can anyone recall the qualities we are
looking for in our drawing through the
observational stage?

Can you describe to me what you will be
drawing from your observation?

Time: 15 minutes
interesting view beyond the window.

Teacher Activities
STEP 3: (2 mins) Show students how to set up
their easel in the space they are using.
STEP 4: (10 mins) Demonstrate how to focus
and observe close up what can be seen beyond the
window both visually and verbally, talking
through the process with the students before they
get started.
STEP 5: Commence class outside of the
classroom (C block, F block and main foyer so
students are within my viewpoint)

Pupil Activities
Observe as teacher sets up working area
outside of the classroom.
Listen and observe intently teacher
demonstration so one knows importance
of focused observation.
Students in groups and individually will
observe the area they will be working in
and choose the view which is aesthetically
pleasing to draw.
Compose as much of line drawing as
possible including textural shapes i.e.
stones and light drawing in the
background to create depth.


Review
As students are working, I will review their work
giving students tips. I will choose good
examples of work that has fitted with the qualities
that was asked of them. Students drawing together
in groups will peer mentor one another.



Conclusion
Class will conclude with a discussion back in the classroom about the work composed today.
Individuals will speak up and explain:
Why they chose the area they observed for drawing?
Did they use all the qualities asked of them in their drawing?
The class will critique the work shown giving their opinions on it what they would change
or do differently. I will explain the next step for lesson 2.

Differentiation:
Students, who are having difficulty composing their drawing with, the qualities asked of them,
can keep the shapes simple creating some sort of depth to their drawing. If they want they can
scale their drawing down a bit smaller than A3 if it helps them.
Stronger/quicker students can work into their drawing creating a decorative border frame if
they wish.


Resources:
A3 paper, easels, pencils, visual aids.

Organization of the Room:
Bags under desks
Students choose areas of C block, F block and foyer of school that they wish to work within


Materials and Cleaning:
20 A3 sheets, 20 easels, pencils.
Five minutes before bell goes, students will come back into class and allocate easels back onto desks
and hand up their work to me.


Evaluation/Assessment:
A3 line drawing with qualities applied shape, depth, composition, middle ground,
foreground, background and scale.
Choice of incidental environment for drawing.
Behavior/co-operation.

Describe what you estimate the pupils learned during the lesson. What evidence do you have to
support your claims? Describe the pupils work? Photograph the work. Comment on the qualities,
quantity and standards of the work. Complete an assessment where appropriate (i.e. at the conclusion
of a scheme). Remember that it is likely there will be different degrees of understanding and
performance demonstrated by the pupils, therefore, variations in achievement should be noted.

Teacher Self-Appraisal:
Refer to the teaching practice evaluation criteria set out in this Handbook. You should critically reflect
on the quality of your planning and teaching. In addition, you should now be in a position to
determine whether you need to alter content, methodology etc., in the light of the progress made in this
lesson. In particular, consider any new directions that have emerged in the course of the lesson and say
how these will influence future planning.