V A K G 7: Isual RTS Indergarten To Rade

VISUAL ARTS
KINDERGARTEN TO GRADE 7
Curriculum — 2010
CUR 004
Copyright © 2010 Ministry of Education, Province of British Columbia.
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storage, reproduction, execution, or transmission without the prior written permission of the Province.
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Permission to copy and use this publication in part, or in its entirety, for non-profit educational purposes
within British Columbia and the Yukon, is granted to (a) all staff of BC school board trustees, including
teachers and administrators; organizations comprising the Educational Advisory Council as identified by
Ministerial Order; and other parties providing, directly or indirectly, educational programs to entitled students
as identified by the School Act, R.S.B.C. 1996, c.412, or the Independent School Act, R.S.B.C. 1996, c.216,
and (b) a party providing, directly or indirectly, educational programs under the authority of the Minister of
the Department of Education for the Yukon Territory as defined in the Education Act, R.S.Y. 2002, c.61.
Contents
Acknowledgments ..................................................................................................................................... 5
Introduction ............................................................................................................................................... 7
Rationale ........................................................................................................................................... 7
Curriculum Organizers ...................................................................................................................... 7
Visual Arts K to 7: At a Glance ........................................................................................................ 9
Prescribed Learning Outcomes and Suggested Achievement Indicators .......................................... 11
Kindergarten .................................................................................................................................... 13
Grade 1 ............................................................................................................................................ 15
Grade 2 ............................................................................................................................................ 18
Grade 3 ............................................................................................................................................ 22
Grade 4 ............................................................................................................................................ 26
Grade 5 ............................................................................................................................................ 31
Grade 6 ............................................................................................................................................ 35
Grade 7 ............................................................................................................................................ 40
Glossary ................................................................................................................................................... 45
VISUAL ARTS K TO 7 • 3
Acknowledgments
Many people contributed their expertise to this document. The Ministry of Education would like to thank all
those whose contributions to the various development phases of this curriculum informed the final document.
In particular, the Ministry acknowledges the following educators for their consultation and contributions to
this curriculum.
GT Publishing Services editing and consultation
2005 to 2006
Julie Johnston School District No. 37 (Delta)

Regan Rasmussen School District No. 62 (Sooke)
Janice Keys School District No. 41 (Burnaby)
and the participants at the BC Arts Education Focus Schools Forum
2009 to 2010
Mike Emme University of Victoria

Kit Grauer University of British Columbia
Donald MacDougall Independent School (Vancouver)
Ling Mellis School District No. 36 (Surrey)
Regan Rasmussen School District No. 62 (Sooke)
Irvin Waskewitch First Nations Education Steering Committee
INTRODUCTION
Introduction
Rationale ease of reference; this organization is not intended
to mandate a linear means of course delivery.
The visual arts are an essential form of
communication, indispensable to inquiry and Creative Processes
expression. From an early age, children draw,
paint, build, and model in order to interact with An important part of art learning for children is
their environment and create images that express their demonstration of a willingness and capacity
their understanding of the world. Visual arts to invent and discover. The creative process of
education builds on these experiences, providing exploration, selection, combination, refinement,
opportunities for all students to perceive, respond and reflection is experienced and expressed as
to, and create images, and to communicate through inventing and discovering materials, processes,
them. Through these processes, students become and ideas, which nurtures students’ capacities to
aware of the ideas and emotions expressed in be active learners. The creative process also has a
visual images and gain the knowledge, skills, and social dimension as students work with partners or
attitudes needed to engage in and appreciate the in groups. As they create, students are
visual arts throughout their lives. experiencing, gaining knowledge, experimenting,
and facilitating at the same time. In creative
Images are central to the visual arts. Through learning, both process and product are valued:
visual arts education, students develop students need opportunities to practise taking
understanding of the personal, social, cultural, and creative risks without always having to aim for a
historical contexts in which images are viewed and predetermined quality standard.
created. Visual arts education also involves
students in image-development and design Skills and Strategies
processes. They engage in purposeful and In this curriculum organizer, students learn about
inventive activities-using a variety of materials, the visual conventions that form the “building
technologies, and processes-to organize visual blocks” of visual images. These include
elements according to the principles of design. • image-development strategies (including
elaboration, repetition, simplification,
The Visual Arts K to 7 curriculum develops and abstraction, multiplication, superimposition,
extends the knowledge, skills, and attitudes that fragmentation, animation, serialization,
form the basis for visual arts education from stylization, rotation, reversal, point of view,
Kindergarten to Grade 12. This curriculum magnification, minification, juxtaposition,
document has been designed to make visual arts metamorphosis, distortion, and exaggeration)
accessible to all students while encouraging the • visual elements (including colour, line, shape,
aesthetic, physical, intellectual, social, and texture, form, value, tone, and space)
emotional development of each individual. • principles of design (including pattern,
symmetrical balance, radial balance,
Curriculum Organizers asymmetrical balance, contrast, emphasis,
movement, rhythm, and unity)
The Prescribed Learning Outcomes for Visual Arts • materials (e.g., paint, chalk, charcoal, markers,
K to 7 are grouped under the following curriculum paper, clay, glue, fabric, film), technologies
organizers: (e.g., paintbrush, kiln, loom, camera,
• Creative Processes computer), and processes (e.g., painting,
• Skills and Strategies drawing, sculpting, weaving, photography,
• Context collage, assemblage, printmaking).
• Exhibition and Response
At the elementary level, students develop a
Note that these organizers are provided for the growing awareness of the skills and strategies of
purpose of categorizing Prescribed Learning visual arts in their own work, and in that of others.
Outcomes, which are coded alphanumerically for Students at all grade levels, from Kindergarten to
Grade 12, use these skills and strategies with
INTRODUCTION
increasing degrees of refinement and complexity In the elementary years, students need a variety of
as they gain experience and maturity. opportunities to view examples of historical and
contemporary artworks from diverse cultures. As
Note: specific image-development strategies, students increase their understanding of the
visual elements, and principles of design are relationships between art and context, they
identified in the Prescribed Learning Outcomes develop their abilities to critically examine
and suggested achievement indicators. These artworks and create personally meaningful images.
concepts are specified for particular grades to
ensure that they are taught and assessed. It is Exhibition and Response
understood, however, that these skills are acquired Displaying and exhibiting images is an important
over a number of years, and that teachers will part of communication in visual arts. By working
continue to address various strategies, elements, collaboratively to select works for display in
and principles at multiple grades. informal or formal settings, students learn to make
critical decisions about their own and others’
Context works, and understand that the purpose of an
Images are created and perceived within personal, image can vary according to its audience.
social, cultural, and historical contexts. The visual
arts have been integral to cultures throughout This organizer also provides opportunities for
history, serving as dynamic forms of expression students to gain skills in art criticism — the
that can reflect or challenge societal norms and process of describing, interpreting, and evaluating
values. The visual arts express and are influenced artworks according to set criteria. An informed
by and sensitive response takes into account the
• personal contexts such as gender, age, life contexts of the artist and the viewer and may
experience, beliefs, and values involve the artist in self-evaluation.
• social and cultural contexts such as belief
systems, economics, race and ethnicity,
environment, and technology
• historical contexts such as time, place, and
point of view.
8 • VISUAL ARTS K TO 7
INTRODUCTION
Visual Arts K to 7: At a Glance

Kindergarten Grade 1 Grade 2 Grade 3
• using image sources • using a variety of image • using a variety of image • using a variety of image
such as imagination, sources (e.g., sources (e.g., feelings, sources (e.g.,
observation, and stories imagination, imagination, imagination,
• exploring, identifying, observation, stories) observation, memory) observation, stories)
and creating images • exploring, describing, • exploring, describing, • exploring, describing,
using and creating images and creating images and creating images
− the image using using using
development strategy − the image − the image − the image
of elaboration development strategy development development
− visual elements of of magnification strategies of strategies of
colour, line, and shape − visual elements of simplification and multiplication,
− the principle of colour, line, shape, abstraction superimposition, and
pattern and texture − visual elements of fragmentation
• exploring and creating − the principle of colour, line, shape, − visual elements of
images using a variety of pattern and texture colour, line, shape,
materials, technologies, • exploring and creating − the principle of and texture
and processes images using a variety of symmetrical balance − the principle of radial
• creating images for a materials, technologies, • exploring and creating balance
variety of purposes and processes images using a variety of • exploring and creating
• various purposes of • creating images for a materials, technologies, images using a variety of
visual arts variety of purposes and processes materials, technologies,
• responding to artworks • awareness of safety and • creating images for a and processes
environmental variety of purposes • creating images for a
considerations for the • safe and environmentally variety of purposes
use of materials, responsible use of • safe and environmentally
technologies, and materials, technologies, responsible use of
processes and processes materials, technologies,
• various purposes of • variety of reasons people and processes
visual arts make and use visual arts • variety of reasons people
• personal preferences for • responding to artworks make and use visual arts
artworks • displaying individual • differences between
• displaying individual and group artworks original artworks and
and group artworks reproductions
• responding to artworks
created for a variety of
purposes
• reasons for preferences
• displaying individual
and group artworks
INTRODUCTION
Grade 4 Grade 5 Grade 6 Grade 7

• using a variety of image • using a variety of image • using a variety of image • using a variety of image
sources sources sources sources
• drafting and sketching • drafting and sketching • compiling ideas for • compiling ideas for
ideas for images ideas for images image making (e.g., image making (e.g.,
• exploring, comparing, • exploring, analysing, and visual journal) visual journal)
and creating images creating images using • exploring, analysing, and • exploring, analysing, and
using − the image creating images using creating images using
− the image development − the image − the image
development strategies of rotation development development
strategies of and reversal strategies of point of strategies of
animation, − a range of visual view, magnification, juxtaposition,
serialization, and elements, including and minification metamorphosis,
stylization tone and value − a range of visual distortion, and
− a range of visual − the principle of elements, including exaggeration
elements, including movement space − a full range of visual
form • exploring and creating − the principles of elements
− the principles of images using a variety of rhythm and − the principle of unity
contrast and emphasis materials, technologies, asymmetrical balance • exploring and creating
• exploring and creating and processes • exploring and creating images using a variety of
images using a variety of • creating images for a images using a variety of materials, technologies,
materials, technologies, variety of purposes materials, technologies, and processes
and processes • safe and environmentally and processes • creating images for a
• creating images for a responsible use of • creating images for a variety of purposes
variety of purposes materials, technologies, variety of purposes • safe and environmentally
• safe and environmentally and processes • safe and environmentally responsible use of
responsible use of • distinctive styles of responsible use of materials, technologies,
materials, technologies, visual images from materials, technologies, and processes
and processes various cultures and and processes • historical and cultural
• variety of reasons people historical periods • historical and cultural contexts of images
make and use visual arts • ethical considerations for contexts of images • visual art styles from
• distinctive styles of copying and • ethical considerations for various social, cultural,
visual images from appropriating images copying and and historical contexts
various historical, • opportunities for visual appropriating images • relationship between
cultural, and social arts in the community • personal opportunities artists and their contexts
contexts • responding to artworks for visual arts in the • ethical considerations for
• ethical considerations for created for a variety of community copying and
copying and purposes • interpreting responses to appropriating images
appropriating images • reasons for preferences artworks and exhibitions • personal opportunities
• types of artists in the • collaborating to develop • collaborating to develop for visual arts
community a group display a group display • structured critical
• responding to artworks response to artworks and
created for a variety of exhibitions
purposes • individual and group
• reasons for preferences displays for various
• working co-operatively purposes
to develop a group
display
PRESCRIBED LEARNING OUTCOMES AND SUGGESTED ACHIEVEMENT INDICATORS
Prescribed Learning Outcomes and

Suggested Achievement Indicators
Prescribed Learning Outcomes and Suggested • The cognitive domain deals with the recall or
Achievement Indicators for Visual Arts are recognition of knowledge and the development
presented by curriculum organizer, and outcomes of intellectual abilities.
are coded alphanumerically for ease of reference; • The affective domain concerns attitudes,
however, this arrangement is not intended to imply beliefs, emotional responses, and the spectrum
a required instructional sequence. of values and value systems.
• The psychomotor domain includes those
Prescribed Learning Outcomes aspects of learning associated with movement
and skill demonstration, and integrates the
Prescribed Learning Outcomes are content cognitive and affective consequences with
standards for the provincial education system; they physical performances.
are the prescribed curriculum. Clearly stated and
expressed in measurable and observable terms,
Prescribed Learning Outcomes set out the required
Suggested Achievement Indicators
attitudes, skills, and knowledge — what students To support the assessment of provincially
are expected to know and be able to do — by the prescribed curricula, this curriculum document
end of the specified subject and grade. includes sets of suggested achievement indicators
in relation to each Prescribed Learning Outcome.
Schools have the responsibility to ensure that all
Prescribed Learning Outcomes in this curriculum Achievement indicators support assessment for
are addressed; however, schools have flexibility in learning, assessment as learning, and assessment
determining how delivery of the curriculum can of learning. They provide teachers and parents
best take place. Requirements for student progress with tools that can be used to reflect on what
reports in relation to the PLOs are noted in the students are learning, as well as provide students
Student Progress Report Order. with a means of self-assessment and ways of
defining how they can improve their own
It is expected that student achievement will vary in achievement.
relation to the Prescribed Learning Outcomes.
Evaluation, reporting, and student placement with Achievement indicators describe what evidence to
respect to PLOs are dependent on the professional look for in determining whether or not the student
judgment and experience of teachers, guided by has fully met the intent of the Prescribed Learning
provincial policy. Outcome. Each achievement indicator presents
only one aspect of the corresponding Prescribed
Domains of Learning Learning Outcome. The achievement indicators
Prescribed Learning Outcomes in BC curricula are designed as an entire set to assist teachers
identify required learning in relation to one or when determining whether students have fully met
more of the three domains of learning: cognitive, the Prescribed Learning Outcome.
psychomotor, and affective. The following
definitions of the three domains are based on Achievement indicators are not mandatory; they
Bloom’s taxonomy. are suggestions only, provided to assist in the
assessment of how well students achieve the
Prescribed Learning Outcomes.
VISUAL ARTS • Kindergarten
Kindergarten
Creative Processes
Prescribed Learning Outcomes Suggested Achievement Indicators
The following set of indicators may be used to assess student
achievement for each corresponding Prescribed Learning
Outcome. Students who have fully met the Prescribed Learning
It is expected that students will: Outcome are able to:
A1 use imagination, observation, and ► identify sources used in specific examples of others’ images
stories to create images (e.g., stories, observation, imagination)
► create images in response to something they observed (e.g.,
touching a leaf, watching a soccer game)
► create images from their imagination (e.g., an imaginary
character, creature, or place)
► create images that illustrate a story they have heard or
viewed, or that tell a story of their own
► demonstrate an awareness of the variety of images that can be
produced from the same source or subject (e.g., all students
draw pictures in response to the same story and identify
similarities and differences in each others’ work)
A2 create images ► add items such as buttons, yarn, or found objects to a drawn
− using the image-development or painted picture to enhance specific characteristics of the
strategy of elaboration image
− that feature colour, line, or ► create images featuring colour (e.g., using favourite colours,
shape primary colours, warm and cool colours)
− that use the principle of pattern ► create images featuring line (e.g., straight, wavy, curvy,
thick, thin)
► create images featuring shape (e.g., same and different
geometric shapes)
► create images featuring pattern (e.g., alternating and
repeating shapes, alternating and repeating colours)
A3 experiment with a variety of ► use materials such as paint, pencils, crayons, fabric,
materials, technologies, and modelling clay, and found objects to create a variety of
processes to make images images
► use technologies such as computers, paint brushes, scissors,
and cameras to create a variety of images
► use processes such as painting, drawing, weaving, collage,
printmaking, and assemblage to create a variety of images
A4 create 2-D and 3-D images ► create images that represent the concepts of place and time
− that represent ideas and concepts (e.g., seasons, self-portrait at current age, a favourite place,
− in response to experiences the view from their window)
− in response to objects and other ► create images that represent their response to various
images experiences (e.g., nature walks, presentations by Elders, show
and tell, music or dance performances)
► create images that represent their response to other images
they have viewed (e.g., artworks within the school,
illustrations from picturebooks)
VISUAL ARTS • Kindergarten
Skills and Strategies

B1 identify and apply ► identify examples of colour and explore their uses to create
− the image-development strategy images (e.g., variety of blues)
of elaboration ► identify examples of shape and explore their uses to create
− the visual elements of colour, images (e.g., geometric shapes, organic shapes)
shape, and line ► identify examples of line and explore their uses in drawing
− the principle of pattern (e.g., wavy, straight, curved)
► identify examples of patterns and explore their uses to create
images (e.g., patterns of colours and shapes)
► describe their images in terms of elements and principles
used (e.g., circle, triangle, straight lines, cool colours)
B2 identify and apply a variety of ► name and use common materials to make images (e.g.,
materials, technologies, and crayons, paint, pens, fabric, found objects, modelling clay)
processes to create images ► name and use common technologies to make images (e.g.,
computers, paint brushes, scissors, cameras)
► name and use common processes to make images (e.g.,
drawing, painting, weaving, photography, collage)
Context
C1 describe various purposes of ► describe reasons people make visual images (e.g., for beauty
visual arts and enjoyment, to communicate an idea, to illustrate a story)
► identify examples of art at home and school (e.g., pictures on
walls, clothing, photographs, murals, statues)
► create artworks for a specific purpose (e.g., to tell a story, to
show an important idea or event)
Exhibition and Response

D1 respond to artworks ► view and discuss a variety of their own and others’ artworks
► demonstrate respect for the work of self and others through
thoughtful response (e.g., discussions, drawing)
VISUAL ARTS • Grade 1
Grade 1
Creative Processes
A1 use a variety of image sources to ► brainstorm and discuss sources they can use for their own
create images image making (e.g., memory, observation, stories)
► responding to specific examples, identify sources used in
others’ images (e.g., looking at an illustration from a picture
book and identifying the inspiration as observation,
imagination, or memory)
► create images in response to something they observed and
experienced
► create images that tell a story (e.g., to illustrate a story they
have heard or viewed from memory, observation, or
imagination)
► create images in response to a particular memory (e.g., first
day of school, a birthday party, moving to a new home, going
to the dentist)
► create images from their imagination (e.g., to illustrate an
imaginary character, creature, or place)
► demonstrate an awareness of the variety of images that can be
produced from the same source or subject (e.g., a photograph,
a sculpture, and a cartoon of a cat)
A2 create images ► create images using repetition as an image-development
− using the image-development strategy (e.g., a shell, leaf, insect)
strategy of repetition ► create images that repeat images to create a patterns (e.g.,
− that feature colour, line, shape, footprints, beadwork, waves)
texture, and/or pattern ► create images featuring colour (e.g., using favourite colours,
primary colours, warm and cool colours)
► create images featuring line (e.g., straight, wavy, curvy,
thick, thin)
► create images featuring shape (e.g., same and different
geometric and organic shapes)
► create images featuring pattern (e.g., alternating and
repeating shapes, alternating and repeating colours)
A3 experiment with a variety of ► use materials such as paint, pencils, crayons, fabric,
materials, technologies, and modelling clay, and found objects to create a variety of
processes to make images images
► use technologies such as computers, paint brushes, scissors,
and cameras to create a variety of images
► use processes such as painting, drawing, weaving,
photography, collage, printmaking, and assemblage to create
a variety of images
► explore a range of materials, technologies, and processes to
create images
A4 create 2-D and 3-D images ► create images that represent something or someone of
− for a given purpose personal significance (e.g., a favourite toy, a family member,
− of personal significance a personal accomplishment)
− that represent time ► create images for a specific purpose (e.g., illustrating a card,
− to communicate experiences and recording a memory, enhancing the beauty of the
moods environment)
− in response to objects and other ► create images that represent concepts of time (e.g., a visual
images they have experienced journal of a family trip, self-portraits)
► create images that express a particular emotion or mood (e.g.,
a time when they felt happy, sad, frightened, excited)
► create images that represent their response to other images
they have viewed (e.g., images from symbols and signs, artist
reproductions, work done by older students)

B1 describe and apply ► describe examples of colour and explore the use of colour
− the visual elements of colour, such as by mixing paints to discover new colour
shape, line, and texture ► describe examples of shape and explore the use of shapes
− the principle of pattern (e.g., rectangles, triangles, circles, organic shapes)
− the image-development strategy ► describe examples and explore the use of line (e.g.,
of repetition horizontal, diagonal, directional lines)
► describe examples and explore the use of texture (e.g.,
smooth, soft, hard, rough, bumpy)
► describe examples and explore the use of patterns (e.g.,
repeating patterns in beading)
► describe examples and explore the use of repetition (e.g.,
snowflakes, trees)
► describe their artworks in terms of elements and principles
used (e.g., circle, square, triangle, warm colours, cool
colours, curved lines)
B2 describe and apply a variety of ► name common classroom and home materials that can be
materials, technologies, and used to make images (e.g., crayons, paint, pens, fabric, found
processes to create images objects, clay, beads, chalk, pastels)
► name common classroom and home technologies to make
images (e.g., computers, paint brushes, scissors, cameras)
► name common classroom and home processes that can be
used to make images (e.g., drawing, painting, sewing,
weaving, photography, collage, printmaking, assemblage)
► apply a variety of materials, technologies, and processes to
create images
B3 demonstrate awareness of safety ► demonstrate an awareness of safety considerations for the use
and environmental considerations of materials, technologies, and processes (e.g., appropriate
for the use of materials, use of scissors and other sharp tools, obeying hazard
technologies, and processes symbols)
► demonstrate an awareness of environmental considerations
for the use of materials, technologies, and processes (e.g., not
wasting, saving unused materials, recycling, reusing)
Context
C1 describe various purposes of ► describe reasons people make visual images (e.g., for beauty
visual arts and enjoyment, to communicate an idea, to illustrate a story,
to decorate a functional item, to record a memory)
► identify examples of images at home and school (e.g.,
pictures on walls, clothing, photographs, murals, statues)

D1 identify personal preferences for ► respond to artworks viewed in class or in the community,
artworks stating a preference for particular works
► compare preferences with those of their classmates
► demonstrate respect for the preferences of others
► use appropriate, descriptive, and positive or neutral language
in their responses to artworks (e.g., “I like the wavy lines in
this drawing.”)
► explain why the artworks they have viewed are personally
significant (e.g., “The wolf carving reminds me of my dog.”
“I like this painting because red is my favourite colour.”)
D2 display individual and group ► view and discuss a variety of displays of their own and
artworks others’ artworks
► demonstrate respect for the work of self and others
Grade 2
Creative Processes
A1 use a variety of image sources to ► name and apply examples of how feelings can be used to
create images, including feelings, create images (e.g., feeling expressed in Emily Carr forest
imagination, memory, and images)
observation ► name and apply examples of how imagination can be used to
create images (e.g., storybook pictures, fantasy world)
► name and apply examples of how memory can be used to
create images (e.g., a field trip to an Aboriginal friendship
centre or art gallery, a family vacation)
► name and apply examples of how observation can be used to
create images (e.g., landscapes, still life, Robert Bateman
animal images)
A2 create images using the image- ► view and describe images using simplification (e.g., Ted
development strategies of Harrison prints)
simplification and abstraction ► create an image using simplification as an image-
development strategy (e.g., make a stencil or silhouette to
create an animal shape)
► create an image using abstraction as an image-development
strategy (e.g., use simple shapes to create a picture from an
image such as the paper cutouts of Henri Matisse)
A3 create images featuring one or ► create images featuring colour (e.g., primary colours,
more visual elements and secondary colours, warm and cool colours)
principles of design including ► create images featuring line (e.g., thick, thin, contour)
− colour ► create images featuring shape (e.g., triangles, circles, squares,
− line organic shapes)
− shape ► create images featuring pattern (e.g., alternating and
− texture repeating shapes, alternating and repeating colours)
− pattern ► create images depicting symmetrical balance (e.g., butterfly,
− symmetrical balance mask)
A4 experiment with materials, ► view a variety of images and identify
technologies, and processes to − materials used (e.g., oil paint, pastel, pencil, charcoal,
create particular effects clay)
− technologies used (e.g., computer, paintbrush, fingers,
sewing machine)
− processes used (e.g., painting, drawing, photography, )
► compare the effects of materials, technologies, and processes
used in two or more selected images (e.g., splatter painting of
Jackson Pollock vs. paintbrush use by Emily Carr, prints vs.
sculptures of animals)
► explore and experiment with a range of materials,
technologies, and processes to create images
A5 create 2-D and 3-D images ► create images to communicate their own experiences (e.g.,
− to communicate experiences, first day at school, belonging to club, a birthday party)
moods, and stories ► create images to depict a mood (e.g., bright colours to
− to illustrate and decorate indicate happiness)
− that represent a point in time ► create images that tell known stories (e.g., from literature,
− that represent specific places family stories)
− based on events or issues topics ► create images that represent a point in time (e.g., the view out
in their school and community their window in spring, a holiday)
► create images that represent specific places (e.g., a local
landmark, a favourite place in the home)
► create images that represent events or topics in their school or
community (e.g., school sports day, Canada Day parade,
recycling program, friendship)

B1 describe and apply image- ► describe examples of simplification and abstraction in images
development strategies including viewed in the class, school, and community (e.g., Georgia
− simplification O’Keefe’s flower paintings, Inuit animal carvings and prints)
− abstraction ► create images that demonstrate the use of simplification
and/or abstraction to produce a particular effect (e.g.,
simplified flowers in the style of Georgia O’Keefe, simplified
animal shapes)
► use appropriate terminology (e.g., simplification,
imagination, mood, sense) to describe image development
B2 describe and apply the use of ► describe examples of the use of colour, shape, line, pattern,
specific elements and principles and symmetry in images viewed
in images, including ► create images that demonstrate the use of colour to produce a
− colour particular effect (e.g., adding white to lighten a colour,
− shape contrasting colours of paper)
− line ► create images that demonstrate the use of shape to produce a
− pattern particular effect (e.g., organic shapes in the style of Henri
− symmetrical balance Matisse, geometric shapes to create a landscape)
► create images that demonstrate the use of line to produce a
particular effect (e.g., continuous line drawing, line in the
images of Gu Xiong)
► create images that demonstrate the use of pattern to produce a
particular effect (e.g., weaving in Coast Salish style,
printmaking)
► create images that demonstrate the use of symmetrical
balance to produce a particular effect (e.g., butterfly, human
face)
► use appropriate terminology to describe the characteristics of
images (e.g., geometric and organic shapes, symmetry)
materials, technologies, and used to make images (e.g., crayons, paint, pens, fabric, clay,
processes to create images beads, chalk, pastels, tissue paper)
► name common classroom and technologies that can be used
to make images (e.g., computers, paint brushes, markers,
scissors, cameras)
► select and apply a variety of materials, technologies, and
processes to create images
► use appropriate terminology to identify the materials,
technologies, and processes used to create particular images
(e.g., pastel, charcoal, photograph)
B4 demonstrate safe and ► identify safety considerations for the use of materials,
environmentally responsible use technologies, and processes (e.g., using scissors and other
of materials, technologies, and cutting tools with care, obeying hazard symbols, asking for
processes help or supervision)
► demonstrate environmentally responsible use of materials,
technologies, and processes (e.g., using recycled materials
and found objects, not disturbing the environment when
collecting natural materials)
► demonstrate appropriate set-up, use, clean-up, and storage
procedures for classroom materials, technologies, and
workspaces
Context
C1 describe a variety of reasons ► list reasons people make and use visual art (e.g., for beauty
people make and use visual arts and enjoyment, to communicate an idea, to decorate a
functional item, to express a memory, to express cultural
identity, advertising)
► identify examples of visual art in their homes, school, and
community (e.g., pictures on walls, clothing, photographs,
murals, statues)
► discuss the importance, significance, or value of a selected
artwork (e.g., an artefact brought from home, family
heirlooms, a painting in the school, images with personal
associations or significance)
► give examples of how visual arts can express the identity of a
community (e.g., school or town symbols, sports team logos,
images of important local landmarks and geographic
features)
C2 identify differences between ► view examples of and define “originals” and “reproductions”
original artworks and ► give reasons for using reproductions of artworks (e.g., so it
reproductions can be seen by more people in more locations, original
artworks are often valuable, originals are sometimes too large
or fragile to be moved)

D1 describe their response to ► identify visual elements, principles of design, and image-
artworks development strategies used in images viewed (e.g., color,
line, shape, texture, pattern, symmetry, simplification)
► suggest reasons for the use of elements and principles in their
own and others’ works (e.g., colour choices in pictures to
create a desired emotional effect, flowing lines can depict
smoothness or peacefulness, jagged or sharp lines can depict
anger or fear)
► identify materials, technologies, and processes used in
images viewed (e.g., paint, wood, collage), and describe their
effects
► describe the elements, principles, image-development
strategies, materials, technologies, and processes they used in
their own work (e.g., “I used the colours purple and green in
this painting because ____.”)
artworks in a variety of ways others’ artworks
Grade 3
Creative Processes
A1 use a variety of image sources to ► name examples of images created
create images, including feelings, − to represent feelings (e.g., to show happiness, sadness,
imagination, memory, excitement, anger as in Edvard Munch)
observation, and sensory − from imagination (e.g., a character for a story, a fantasy
experience environment)
− from memory (e.g., a family vacation, dreams)
− from observation (e.g., drawing of a shoe)
− from sensory experiences (e.g., drawing to music)
► create images using feelings, imagination, memory,
observation, and sensory experience
A2 create images using the image- ► create an image using fragmentation as an image-
development strategies of development strategy (e.g., quilting, puzzles, mosaic)
− fragmentation ► create an image using multiplication as an image-
− multiplication development strategy (e.g., to create a pattern, to create a
− superimposition sequence of images such as Andy Warhol)
► create an image using superimposition as an image-
development strategy (e.g., overlapping image in a collage,
drawing, or montage such as in the style of Lois Ehlert,
George Littlechild, or Michael Snow)
A3 create images that show the use of ► demonstrate various ways to use colour (e.g., mixing two
the following visual elements and primary colours to create a secondary colour, using various
principles of design, alone and in shades of the same colour)
combination, to produce a variety ► create images that demonstrate the use of radial balance (e.g.,
of effects: a bicycle wheel, a sunflower, cross-section of an orange)
− colour ► sketch various types of lines based on images viewed (e.g.,
− shape vertical and horizontal, straight and curved, thick and thin)
− line ► create images that demonstrate the use of pattern to produce a
− texture particular effect (e.g., a border to frame the image)
− pattern
− radial balance
A4 experiment with materials, ► compare the effects of materials, technologies, and processes
technologies, and processes to used in two or more selected images viewed (e.g., 2-D vs.
create particular effects 3-D images from paper)
► experiment with technologies and processes based on
examples viewed in class
► create images using a variety of materials (e.g., yarn, stir
sticks, aluminum foil, charcoal, recycled cardboard)
► create images using a variety of technologies and processes
(e.g., drawing, painting, printmaking, sculpture)
A5 create 2-D and 3-D images ► create images to communicate their own experiences (e.g.,
− to communicate experiences, doing well in a school assignment, learning how to swim,
moods, and stories visit from a favourite relative)
− to illustrate and decorate ► create images to depict a mood or feeling
− that represent time as ► create images to tell an imagined story
transformation ► create images that represent concepts developed over time
(e.g., growth and development of an animal such as
caterpillar to butterfly or tadpole to frog, a tree in the four
seasons, self-portraits from infancy to present)

B1 describe and apply image- ► describe examples of multiplication, superimposition, and
development strategies including fragmentation in images viewed in the class, school, and
− multiplication community (e.g., fragmentation in Jack Shadbolt’s butterfly
− superimposition images, one image superimposed and hidden within another
− fragmentation in masks)
► create images that demonstrate the use of multiplication,
superimposition, and/or fragmentation to produce a particular
effect (e.g., collage, assemblage)
B2 describe and apply specific visual ► identify examples of the use of colour, shape, line, pattern,
elements and principles of design texture, and radial balance in images viewed in the class,
in images and in natural and school, and community
human-built environments, ► create images that demonstrate the use of colour, shape, line,
including pattern, and/or texture to produce a particular effect (e.g.,
− colour drawings and paintings of Canadian wild animals to depict
− shape texture, cutout shapes to create symbols of Canada)
− line ► create images that demonstrate the use of radial balance to
− pattern produce a particular effect (e.g., aerial view of a merry-go-
− texture round, a medicine wheel to show wholeness, a mandala)
− radial balance ► use appropriate terminology to describe elements and
principles (e.g., warm colour, cool colour, smooth texture,
radial balance)
materials, technologies, and used to make images (e.g., crayons, paint, pens, fabric, clay,
processes to create images beads, chalk, pastels, tissue paper)
► name common classroom technologies to make images (e.g.,
computers, paint brushes, markers, scissors, cameras)
► select and use a variety of materials, technologies, and
processes to create images
► use appropriate terminology to identify the materials,
technologies, and processes used to create particular images
(e.g., pastel, charcoal, photograph)
B4 demonstrate safe and ► identify safety considerations for the use of materials,
environmentally responsible use technologies, and processes (e.g., using scissors and other
of materials, technologies, and cutting tools with care, obeying hazard symbols, asking for
processes help or supervision)
► identify environmental considerations for the use of
materials, technologies, and processes (e.g., using recycled
materials and found objects, not disturbing the environment
when collecting natural materials)
► demonstrate appropriate set-up, use, clean-up, and storage
procedures for the materials, technologies, and workspaces
they use
Context
C1 describe a variety of reasons ► list and discuss reasons people make and use visual art (e.g.,
people make and use visual arts for beauty and enjoyment, to communicate an idea, to
decorate a functional item, to express a memory, to express
cultural identity, to commemorate an event, advertising)
► identify examples of visual art in their homes, school, and
community (e.g., pictures on walls, clothing, photographs,
murals, statues, book covers, in magazines, on the Internet)
► discuss the importance or significance of a selected artwork
(e.g., an artefact brought from home, a painting in the school)
► give examples of how art can express the identity of a
community (e.g., provincial and national symbols, sports
team logos, cultural symbols such as dragons or tartan)
C2 identify differences between ► identify examples of original artworks in the classroom,
original artworks and school, and community
reproductions ► give reasons for using reproductions of artworks (e.g., so it
can be seen by more people in more locations, original
artworks are often valuable, originals are sometimes too large
or fragile to be moved)

D1 describe their response to 2-D and ► view and discuss images created to communicate personal
3-D images created experiences
− to communicate experiences, ► view and discuss portraits that show human emotions
moods, and stories ► use examples from their own experiences when responding to
− from observation, memory, and images (e.g., “This picture reminds me of the time I …”)
imagination ► suggest reasons for the use of elements and principles in their
− to illustrate and decorate own and others’ works (e.g., colour choices in pictures to
create a desired emotional effect, flowing lines can depict
smoothness or peacefulness, jagged or sharp lines can depict
anger or fear, pattern can imply regularity and continuity,
radial balance can show wholeness)
► use appropriate terminology (e.g., multiplication,
imagination, mood, superimpose) to describe images
D2 suggest reasons for preferences in ► demonstrate an awareness that particular images have
artworks personal value (e.g., family heirlooms, images with personal
associations or significance)
► respond to artworks viewed (e.g., in class, public art), stating
a preference for particular works
► compare preferences with those of their classmates
► demonstrate respect for the preferences of others
► use appropriate, constructive, descriptive vocabulary in their
responses (e.g., “This picture of sunflowers reminds me of
the colours in my grandmother’s garden.” “I like how this
carving shows the pattern and texture of the dragon’s
scales.”)
artworks in a variety of ways others’ artworks
► create an artist’s statement, based on a provided model, that
describes their artworks (e.g., “I want people to feel ____
when they look at my drawing.” “This sculpture tells about a
time when I _____.” “I created symmetry in this weaving by
_____.”)
Grade 4
Creative Processes
Outcome.
Students who have fully met the Prescribed Learning Outcome
It is expected that students will: are able to:
A1 draft ideas for images using ► keep a visual journal to record draft ideas for images (e.g.,
feelings, observation, memory, using feelings, observation, memory, imagination)
and imagination ► simplify a realistic work or observed image by reproducing it
using limited specified materials or techniques (e.g., working
in contour line, using three colours of torn paper)
► use their visual journals to create a series of sketches on the
same subject (e.g., showing different views of the same tree)
A2 create images using a range of ► create an image using serialization as an image-development
image-development strategies, strategy (e.g., tell a story using a number of images such as in
including manga, comic books, graphic novels)
− serialization ► create an image using stylization as an image-development
− stylization strategy (e.g., simplify an image to create a logo or a cartoon)
− animation ► create an image using animation as an image-development
strategy (e.g., creating action by repeating images such as
flipbooks or zoetrope)
► identify animation in images (e.g., cartoon characters and
toys, food product packages)
A3 create images that show the use of ► create images that show form (e.g., clay sculptures of an
the following visual elements and animal or imaginary character)
principles of design, alone and in ► create images that show contrast (e.g., both geometric and
combination, to produce a variety organic shapes, warm and cool colours, short and long lines)
of effects: ► create images that show emphasis (e.g., using colour, line,
− form texture)
− contrast ► create a personal or group image (e.g., mural, totem) to show
− emphasis − form (e.g., 3-D shape, form on a 2-D surface)
− emphasis (e.g., one or more components of the mural
featured through shape or size)
− contrast (e.g., colours, lines)
A4 use a range of materials, ► create images using a variety of materials alone and in
technologies, and processes alone combination (e.g., paint and crayon resist, collage and paint,
and in combination to create found object sculptures, soapstone)
images ► create images using a variety of technologies (e.g.,
photocopier, sandpaper, plastic carving knives)
► create images using a variety of processes (e.g., layering,
carving, sculpting)
► demonstrate willingness to experiment with a variety of
materials, technologies, and processes, alone and in
combinations
► reflect on their experiences with materials, technologies and
processes used (e.g., journal, think-pair-share)
A5 create 2-D and 3-D images ► create images, such as banners or coats of arms, that express
− that express personal identity personal identity (e.g., themselves in relation to their family
− that respond to or reflect aspects and cultural heritage, a significant accomplishment)
of art from a variety of ► create images that reflect characteristics of artworks they
historical and cultural contexts have viewed from a variety of historical contexts (e.g.,
− to communicate ideas, pictographs and petroglyphs, Japanese anime, depictions of
experiences, and stories trickster characters)
− to illustrate and decorate ► create images in response to or that reflect characteristics of
artworks they have viewed from a variety of cultural contexts
(e.g., a personal response to an Aboriginal mask, basket,
painting, or carving; creating a totem to tell a class or school
story)
► create images to communicate an idea (e.g., love, freedom,
anger)
► apply appropriate image-development strategies to create
images that decorate (e.g., use of simplification and
multiplication to create pattern in beadwork and mosaics)

B1 compare and apply various ► suggest image-development strategies that might have been
image-development strategies, used to create a given artwork
including ► compare two or more artworks in terms of the effects of the
− animation image sources and image-development strategies used (e.g.,
− serialization an observed landscape vs. an imagined landscape; animation
− stylization serialization, and stylization in manga vs. graphic novels)
► apply animation, serialization, and stylization to create
images
► use appropriate terminology (e.g., serialization, animation,
stylization, imagination, abstract) to describe image
development in their own and others’ works
B2 compare and apply various visual ► demonstrate an awareness of the relationship between shape
elements and principles of design and form (e.g., square/cube, circle/sphere, triangle/pyramid)
including ► distinguish the use of the element of form in a variety of
− form images and in natural and built environments (e.g., sketch of
− contrast a sculpture, still life drawing, local architecture, Inukshuk,
− emphasis trees)
► create 3-D forms (e.g., cubes, spheres, pyramids; models of
architecture)
► compare and use contrast and emphasis in a variety of images
(e.g., use of both geometric and organic shapes to show
contrast, emphasizing largest part of an image, distinctive
colour, placement in relation to other parts of the image)
► use their visual journals to record examples of form, contrast,
and emphasis in the home, school, and outdoor environments
► use appropriate terminology to describe the use of elements
and principles used in their own and others’ work (e.g., form,
2-D, 3-D, contrast, emphasis)
B3 analyse and use a variety of ► view a variety of images and assess them according to
materials, technologies, and − materials used (e.g., oil paint, pastel, pencil, clay, wood,
processes to create images bark, grass)
− technologies used (e.g., computer, paintbrush, fingers,
loom, cameras)
− processes used (e.g., painting, carving, photography,
weaving, computers)
► select appropriate materials to create images for a given
purpose (e.g., using only locally available materials)
► select appropriate technologies and processes to create
images for a given purpose (e.g., printmaking for
serialization, stylized animal shapes in the style of Norval
Morrisseau)
► discuss the effects of materials, technologies, and processes
used in selected images, using appropriate terminology as
applicable (e.g., feathering, sponging, dragging, hand-
building)
B4 demonstrate safe and ► give reasons for safety procedures in the use of specific
environmentally responsible use materials, technologies, and processes (e.g., dust and other
of materials, technologies, and materials can cause health problems, sharp implements can
processes cause serious injury)
► give reasons for environmentally sensitive procedures in the
use of specific materials, technologies, and processes (e.g.,
conserving materials, preventing damage to the environment)
► demonstrate an ability to use and care for materials,
technologies, and workspace in a safe and an
environmentally sensitive manner (e.g., putting used paper in
the recycle bin, using scissors in a safe manner, reusing
plastic tubs for water and paint)
Context
C1 describe a variety of reasons why ► list reasons people make and use art (e.g., for beauty and
people make and use visual arts enjoyment, to communicate an idea, to decorate a functional
item, to express a memory, to express and preserve cultural
identity, to commemorate an event, for religious worship, to
advertise a product or event)
► identify images that have value in the community (e.g.,
murals, monuments, totems)
► give examples of how art can express the identity of a culture
or society (e.g., community murals, Aboriginal longhouses,
images of important local people and geographic features)
C2 identify distinctive styles of visual ► give specific examples to demonstrate an awareness that art
images from various historical, has existed throughout time (e.g., petroglyphs and
cultural, and social contexts pictographs, ancient pottery)
► view and discuss artworks from various historical, cultural,
and social contexts (e.g., Impressionism, Group of Seven;
contemporary Aboriginal artists such as Robert Davidson,
Daphne Odjig, Deborah Sparrow, and Roy Henry Vickers)
► create a chart, Venn diagram, or other organizer to represent
similarities and differences in artworks from various cultures
and historical periods (e.g., in terms of subject matter,
colours used, materials and processes used, purposes)
C3 demonstrate an awareness that ► discuss rules and guidelines for copying and appropriating
there are ethical considerations existing images in their own works (e.g., Aboriginal images
involved in copying and cannot be reproduced without permission, it is unethical to
appropriating images represent someone else’s work as your own)
C4 demonstrate an awareness that ► develop a written, oral, or graphic list of a variety of types of
there are various types of artists in artists in the community, including both professional and
the community recreational artists (e.g., art teachers, graphic designers,
photographers, sculptors, carvers, film makers)

D1 describe their response to 2-D and ► view and describe images created to communicate an idea
3-D images (e.g., love, freedom, anger)
− created to communicate ideas, ► view and describe images that decorate (e.g., use of
experiences, and stories simplification and multiplication to create patterns in
− created to illustrate and decorate beadwork and mosaics)
− that show particular visual ► use appropriate terminology to describe image development,
elements, principles of design, visual elements, and principles of design in their own and
or image-development others’ works
strategies
D2 interpret reasons for preferences ► justify their preferences in relation to specific criteria such as
in artworks reference to
− the use of particular image-development strategies
− the use of particular visual elements
− the use of particular principles of design
− the use of materials, technologies, and processes
− memories or feelings evoked
D3 demonstrate the ability to work ► view and discuss a variety of displays of their own and
co-operatively to develop a group others’ artworks
display ► discuss criteria for selection and presentation of artworks for
a collection, such as
− thematic
− ensuring all students have had an opportunity to contribute
− selecting a form that allows for combining individual
students’ work in a group work (e.g., quilt, banner, collage,
multi-media presentation)
− collaborating to create a group artwork (e.g., mural,
installation)
► select images from their own portfolio for class presentation
and/or public display, and give reasons for this selection
► create an artist’s statement to describe their work (e.g., “I
used the image-development strategy of simplification in this
picture because _____.” “I put the ____ in the centre of my
collage to emphasize it.”)
Grade 5
Creative Processes
A1 draft ideas for images using ► keep a visual journal to record draft ideas for images,
feelings, observation, memory, including feelings, observations, memories, and imagination
and imagination ► use a visual journal to work through and solve particular
design problems (e.g., to create a school shield — collecting
ideas for symbols to include, planning placement and
arrangement)
► compare a developed artwork to their initial drafts and
explain how their ideas have changed and developed
A2 create images using the image- ► create an image using rotation as an image-development
development strategies of rotation strategy (e.g., tessellations as in MC Escher, mandala
and reversal designs)
► create an image using reversal as an image-development
strategy (e.g., Islamic and Navajo tile patterns)
A3 create images using particular ► create images that show tone and value (e.g., a portrait in
visual elements and principles of style of Rembrandt van Rijn or Vincent Van Gogh, animal
design — including tone, value, drawings using shading)
and movement — to produce a ► create images that show movement (e.g., an athlete, an
variety of effects animal, a moving vehicle)
► use selected elements and principles to create images based
on defined criteria (e.g., three different kinds of lines, filling
the entire space)
► reflect on and describe their use of image-development and
design strategies and their effects (e.g., “Using rotation helps
me to fill the whole space.”)
A4 create images using a range of ► use selected materials, technologies, and processes to create
materials, technologies, and images based on defined criteria (e.g., using only found and
processes recycled materials, combining at least two processes)
► explain their choices in materials, technologies, and
processes used (e.g., “I used pastels because I wanted to
blend colours easily.” “I used printmaking to get a repeated
movement.”)
► demonstrate willingness to take risks with new and
unfamiliar materials, technologies, and processes
A5 create 2-D and 3-D images ► create images to communicate an idea (e.g., joy, peace, fear)
− to communicate ideas ► create images that express personal identity (e.g., self-portrait
− that express personal identity depicting a significant accomplishment)
− that reflect aspects of art from a ► create images that reflect characteristics of artworks they
variety of historical and cultural have viewed from a variety of historical and cultural contexts
contexts (e.g., landscapes or seascapes in the style of the Group of
Seven or EJ Hughes, using found objects like Brian Jungen)
► create images that represent aspects of Canadian identity
(e.g., a visual representation of what it means to them to be a
Canadian; a new national, provincial, or municipal coat of
arms)

B1 analyse and apply image- ► compile an annotated collection (e.g., digital slide show,
development strategies, including folder, poster) of images that represent various image sources
rotation and reversal such as emotions, ideas, imagination, memories, observation,
hearing, or touch
► compile an annotated collection of images that represent
rotation and reversal (e.g., images from magazines, the
Internet; focussing on a particular artist such as MC Escher)
► create images that use rotation and/or reversal for a particular
effect (e.g., tessellate simplified animal shapes in the style of
MC Escher, use collected magazine images to create a
collage)
► use appropriate terminology (e.g., rotation, reversal,
imagination) to describe image development
B2 analyse and apply visual elements ► identify and create images that depict a feeling of movement
and principles of design, (e.g., optical illusions, use of diagonal lines, blurred shapes)
including ► identify and create images that use value and tone for a
− value particular effect (e.g., to achieve a greater range and degree
− tone of realism, to depict form and space)
− movement ► compare the use of value, tone, and movement in images to
that in natural and human-built environments
► explain their choices of the use of elements and principles in
their artworks (e.g., “I put this figure on a diagonal line to
imply movement.”)
► use appropriate terminology to describe the use of elements
and principles used in their own and others’ work
B3 analyse and apply a variety of ► compare the uses of materials, technologies, and processes in
materials, technologies, and a variety of images in terms of their application to achieve
processes to create images effects such as texture, tone and value, opacity, and
application of materials
purpose (e.g., pencils, crayons, pastels, and charcoal to create
tone and value)
images for a given purpose (e.g., use computer applications
for rotation and reversal)
► use appropriate terminology to describe materials,
technologies, and processes
B4 demonstrate safe and ► demonstrate an ability to use and care for materials,
environmentally responsible use technologies, and work space in a safe and an
of materials, technologies, and environmentally sensitive manner (e.g., not printing their
processes computer images until required, not touching the toner
cartridges)
Context
C1 compare the distinctive styles of ► identify and compare images in terms of the social, historical,
artists and images from various or cultural context in which they were created (e.g.,
cultures and historical periods comparing landscapes by Emily Carr, Robert Bateman,
Joseph Turner, Cornelius Krieghoff, and Piet Breugel;
religious and private patronage in Renaissance paintings;
form and function in the architecture of Phyllis Lambert and
Patricia Patkau)
► demonstrate an awareness of the purposes of images in a
variety of social, historical, and cultural contexts (e.g.,
religious worship, advertising, recording an event or person)
C2 describe ethical considerations ► discuss rules and guidelines for using copies of existing
involved in copying and images in their own works (e.g., Aboriginal images cannot be
appropriating images reproduced without permission, don’t represent someone
else’s work as your own)
C3 describe opportunities for visual ► research and list examples of visual arts in the local
arts in the local community community, including
− opportunities to view and respond to artworks (e.g.,
museums and galleries, public art, library books, web
sites)
− opportunities to create and communicate with artworks
(e.g., after-school and community art groups)

D1 describe their response to 2-D and ► describe their response to images that communicate ideas,
3-D images experiences, and stories (e.g., stained glass windows, story
− created to communicate ideas, quilts of Faith Ringgold)
experiences, and stories ► describe their response to images that illustrate and decorate
− created to illustrate and decorate (e.g., clothing, pottery and baskets, picture books)
− that show the use of particular ► describe their response to images that depict a feeling of
elements, principles, or image- movement (e.g., optical illusions, use of diagonal lines,
development strategies blurred shapes)
► describe their response to images viewed that use tone and
value for a particular effect (e.g., to achieve a greater range
and degree of realism, to depict form and space)
► use appropriate terminology to describe the use of
− image-development strategies
− visual elements
− principles of design
− materials, technologies, and processes
D2 interpret reasons for preferences ► justify their preferences in relation to specific criteria such as
in artworks reference to
− the use of particular image-development strategies
− the use of particular visual elements
− the use of principles of design
− the use of materials, technologies, and processes
− memories or feelings evoked
D3 collaborate to develop a group ► view and discuss a variety of displays of their own and
display for the school or others’ artworks
community ► discuss criteria for selection and presentation of artworks for
− thematic
students’ work in a group work (e.g., a quilt, banner,
collage, multi-media presentation)
installation)
used the image-development strategy of rotation in this
picture because _____.” “I use repeated shapes to show
movement.”)
Grade 6
Creative Processes
A1 compile a collection of ideas for ► use a variety of methods to draft and develop images (e.g.,
images using feelings, visual journals, thumbnails, storyboards, maquettes)
observation, memory, and ► use visual journals and other methods to work through and
imagination solve particular design problems (e.g., sketching an object
from multiple viewpoints to explore its properties)
► compare a developed artwork to their initial drafts and
explain how their ideas have changed and developed
A2 create images using the image- ► create an image using point of view as an image-development
development strategies of point of strategy (e.g., bird’s eye view, worm’s eye view, and close up
view, magnification, and in the style of Barbra Reid’s illustrations)
minification ► create a series of images depicting different points of view of
the same subject
► create an image using magnification as an image-
development strategy (e.g., close-up of an object in the style
of Georgia O’Keefe’s flower paintings)
► create an image using minification as an image-development
strategy (e.g., in the style of Bill Reid jewellery, in the style
of Islamic miniatures)
A3 create images using particular ► create images using space for a particular effect (e.g.,
visual elements and principles of negative space to show loneliness)
design — including rhythm, ► create images using asymmetrical balance to produce a
asymmetrical balance, and space variety of effects (e.g., to show tension, excitement, or
— to produce a variety of effects humour)
► create images using the principle of rhythm (e.g., to depict
the rhythm of a piece of music)
A4 manipulate selected materials, ► experiment with materials, technologies, and processes in
technologies, and processes to new ways to create a variety of effects (e.g., use the other end
create images of the paintbrush to scratch through or to stamp patterns, use
the eraser end of a pencil as a subtractive drawing tool, use a
variety of found objects to create textures in clay, use a
scratchboard to create textured drawings)
► self-assess and refine their use of materials, technologies, and
processes based on specified criteria
A5 create 2-D and 3-D images ► create images that reflect beliefs and values (e.g., a poster
− that express beliefs and values campaign to promote anti-bullying or protection of
− that reflect art styles from a endangered species, a portrait or sculpture to depict the
variety of social, historical, and contributions of particular role models)
cultural contexts ► create images that reflect art styles from social, historical, and
− to solve specific design cultural contexts studied (e.g., origami peace cranes,
problems transformation animal masks)
► create images to solve specific design problems (e.g., the
same object from multiple viewpoints to explore its
properties)

B1 analyse and apply image- ► identify image-development strategies that might have been
development strategies, including used to create given specific artwork or series of similar
− point of view artworks
− magnification ► assess the use of point of view, magnification, and
− minification minification in a given artwork or series of artworks (e.g., to
depict a particular mood, setting, or concept)
► use point of view, magnification, and minification for a
particular effect (e.g., point of view for a map, magnify the
textures of a natural object, minification to focus viewers’
attention)
► use appropriate terminology (e.g., point of view, aerial) to
describe image development and design
B2 analyse and apply space, rhythm, ► analyse and apply rhythm in images (e.g., skyline, mountain
and asymmetrical balance to range, tree line)
create effects and to convey mood ► analyse and apply space in images (e.g., rule of thirds in
landscapes)
► analyse and apply asymmetrical balance in images (e.g., in
Japanese painting and design)
► use appropriate terminology to describe elements and
principles (e.g., space, rhythm, asymmetrical balance)
B3 analyse and use a variety of ► analyse the characteristics and uses of materials,
materials, technologies, and technologies, and processes in images in terms of historical
processes to create images or cultural context and style, including
− use of materials available in that time and place (e.g., types
of wood used for masks, grasses and other materials for
weavings)
− form and function (e.g., tapestries, furniture, clothing,
boats)
− effect of the introduction of new materials, technologies,
and processes
− use and purposes (e.g., religious, celebratory)
purpose (e.g., environmentally responsible materials for
packaging)
images for a given purpose (e.g., computer applications for
magnification and minification, printmaking to create
posters)
B4 demonstrate safe and ► demonstrate an ability to use and care for materials,
environmentally responsible use technologies, and work space in a safe and an
of materials, technologies, and environmentally sensitive manner (e.g., safe use of hot tools
processes such as irons and glue guns, using acrylics instead of oil
paints)
Context
C1 identify the historical and cultural ► select a particular artwork or artist and identify the
contexts of a variety of images characteristics that define its style in terms of
− materials and processes used (e.g., locally available
natural materials, unique processes such as origami)
− specific elements and principles used (e.g., asymmetrical
balance in Japanese painting and design, culturally
significant patterns such as tartans or kente cloth, ovoid
shapes in west coast Aboriginal images)
− specific image-development strategies used (e.g.,
magnification in Claes Oldenburg sculptures)
− subject matter and purpose of the artwork (e.g., use of
cultural icons such as animals)
► compare two or more cultural or historical art styles (e.g., a
local Aboriginal style compared to Maori art, ancient China
compared to contemporary China)
► demonstrate an awareness that images influence and are
influenced by their social, historical, and cultural contexts
C2 demonstrate an awareness of the ► view examples of artworks that use an existing image (e.g.,
ethical considerations involved in the Mona Lisa, a corporate logo) altered for various purposes
copying and appropriating images ► identify potential ethical considerations for copying and
appropriating images, such as
− using an image for commercial purposes not intended by
the original artist
− defining fair usage of others’ images in their own image
making
C3 identify personal opportunities in ► research and list examples of visual arts in the local
visual arts community (e.g., school displays, local museums, recreation
centres, libraries, seniors centres, web sites), including
− opportunities to view and respond to artworks
− opportunities to create and communicate with artworks

D1 interpret their response to ► using defined criteria, analyse specific artworks with
artworks or exhibitions reference to
− specific image-development strategies used
− specific elements and principles used
− materials, technologies, and processes used
− subject matter
− purpose and meaning of artwork
− feelings or associations evoked
► view and respond to a variety of images, identifying how the
images
− literally or symbolically communicate specific meanings
(e.g., advertising, packaging, banners)
− convey specific moods or emotions
− depict a sense of time or a particular location
− depict specific physical conditions (e.g., temperature,
movement)
► describe their response to exhibits (e.g., “I think all the
images really fit the exhibit’s theme of peace.” “I would have
preferred to see all drawings instead of a mix of drawings and
weavings.”)
► use appropriate terminology when responding to artworks
D2 collaborate to develop a group ► articulate an understanding of what is required for the
display for a particular audience particular audience, purpose, or event (e.g., Remembrance
or purpose Day assembly, Earth Day event, promoting a cause such as
diabetes research)
► view and discuss a variety of displays of their own and
others’ artworks
► discuss criteria for selection and presentation of artworks for
− thematic
students’ work in a group work (e.g., a quilt, banner,
collage, multi-media presentation)
installation)
used the image-development strategy of magnification in this
picture because _____.” “I use repeated shapes to show
rhythm.” “I used an aerial point of view in this picture
because I wanted to show an object from a distance.”)
Grade 7
Creative Processes
A1 use a variety of image sources to ► describe how observation, emotions and feelings, ideas and
create images, including concepts, imagination, memories and sensory experiences
observation, emotions, ideas and can be used to create images
concepts, imagination, memories, ► select and apply appropriate image sources to create images
and sensory experiences ► name and apply examples of how two or more image sources
can be used to create the same artwork
► use a variety of methods to draft and develop images (e.g.,
visual journals, storyboards, movement studies, digital
sketches)
A2 create images using a range of ► create a series of images that depict metamorphosis (e.g.,
image-development strategies, rectangle into a car, a letter of the alphabet into an animal,
including flipbooks)
− juxtaposition ► create images that juxtapose like or contrasting images or
− metamorphosis elements in a way that changes the meaning (e.g., using soft
− distortion drink bottles as columns in classical architecture, art of the
− exaggeration style of surrealists such as Salvador Dali or René Magritte)
► create an image using exaggeration as an image-development
strategy (e.g., caricatures)
► create images that depict distortion (e.g., a object as it is
melted or stretched, computer morphing applications, images
in the style of Francis Bacon)
► create images that depict two or more image-development
strategies
A3 create images using the principle ► create images using the visual elements to depict a sense of
of unity to produce a variety of unity (e.g., monochromatic colour schemes, shades of the
effects same colour, positive and negative space, use of all geometric
shapes, repetition of shape and pattern)
A4 create images using a variety of ► select materials technologies, and processes to create images
materials, technologies, and − that represent particular historical or cultural contexts or
processes styles (e.g., ancient Greek or Aztec)
− that depict specific meaning or mood (e.g., softer materials
such as chalk or pastels to evoke a memory)
− that literally or symbolically communicate specific
meanings or ideas (e.g., graphic design to communicate a
strong message)
► experiment with a variety of materials, technologies, and
processes
A5 create 2-D and 3-D images ► create images that convey personal or societal beliefs and
− that convey personal or social values (e.g., anti-discrimination, peace, environmentalism,
beliefs and values the benefits of a healthy lifestyle)
− for specific purposes ► create images for specific purposes (e.g., social commentary,
− that incorporate the styles of social analysis, entertainment)
selected artists from a variety of ► create images to produce particular styles of art (e.g., pattern
social, historical, and cultural and the use of black and red in Haida art, geometric shapes in
contexts ancient Egyptian art)
► create images to produce a variety of specific effects (e.g., to
represent the rhythm of a piece of music, to depict motion in
an image of an athlete or animal)
► create images that incorporate the styles of selected artists
from a variety of social, historical, and cultural contexts
viewed in class (e.g., surrealism, impressionism, realism,
manga)

B1 analyse and apply a wide variety ► compare the variety of images that can result from the same
of image sources and image- image source or subject (e.g., observation of flowers in works
development strategies by Georgia O’Keefe, Claude Monet, Vincent van Gogh,
Andy Warhol; the use of animals in Rembrandt van Rijn, Bill
Reid, and Robert Davidson)
► discuss and describe the image-development strategies in a
given artwork or series of similar artworks (e.g.,
metamorphosis in an MC Escher drawing, comparing cubist
paintings of Pablo Picasso and Georges Braque, juxtaposition
of dissimilar objects in surrealism)
► apply metamorphosis, juxtaposition, distortion, and
exaggeration to create particular effects
► use appropriate terminology (e.g., juxtaposition,
metamorphosis, distortion) to describe image development
B2 analyse and apply unity as created ► view and discuss how specific images depict unity (e.g.,
by combining visual elements in a monochromatic colour schemes, shades of the same colour,
coherent way positive and negative space, use of all geometric shapes,
repetition of shape and pattern)
► select and apply visual elements (e.g., colour, line, shape) to
create images depicting unity
► use appropriate terminology to analyse elements and
principles (e.g., texture, value, balance, harmony, unity)
B3 analyse and apply a variety of ► analyse and selectively apply the characteristics and uses of
materials, technologies, and materials, technologies, and processes in images (e.g.,
processes to create artworks mosaic, sculpture, masks, ceramics, graffiti, printmaking,
scanned images, music videos)
► describe the choice of materials, technologies, and processes
used in creating an image (e.g., “I used pastels because I like
being able to smudge and blend the colours,” “I chose
markers to create a bold message.”)
B4 demonstrate safe and ► follow safety and environmental considerations in the use of
environmentally responsible use specific materials, technologies, and processes (e.g., safety
of materials, technologies, and cautions for using paints, hazard labels, processes requiring
processes supervision, protective clothing, emergency procedures)
► follow specific examples of environmental considerations in
the use of materials, technologies, and processes (e.g., use of
reused and recycled materials, use of sustainable materials)
Context
C1 analyse visual arts styles from a ► identify and discuss meaning and purpose of images within a
variety of social, historical, and variety of contexts (e.g., advertising, editorial cartoon, totem
cultural contexts poles, public art, art for specific audiences)
► assess and visually respond to a particular artwork or artist in
terms of
− materials used (e.g., in Antonio Gaudi’s buildings)
− specific elements and principles used (e.g., form in the
architecture of Arthur Erickson or in classical Greek
statues)
− specific image-development strategies used (e.g., use of
classical motifs in modern images by Jeff Wall)
− subject matter (e.g., war images by Pablo Picasso,
Francisco Goya, or Molly Lamb Bobak)
− purpose of the artwork (e.g., to sell a product such as in
CD and book covers, community murals used for tourism,
body art to state individual or cultural identity)
C2 assess the relationship between ► describe examples of how artists influence society (e.g., art as
selected artists and their social, political or social commentary such as the work of Édouard
historical, and cultural contexts Manet, George Littlechild, Faith Ringgold, and Joe Average)
► assess how personal, social, historical, and cultural contexts
can influence artists and their images (e.g., the effects of the
development of technology such as the camera, computer,
and printing press; personal experiences of Frida Kahlo or
Keith Haring reflected in their work)
► research and present a report (e.g., visual-oral, multi-media)
on the social, historical, and cultural contexts of a selected
artist
C3 describe ethical considerations ► define and give examples of “restricted use” images
associated with reproduction and ► define and give examples of “free to copy” images
appropriation of images ► define and give examples of “appropriation” in relation to
images
► demonstrate ethical use of reproduced images in their own
artworks
► identify situations where they may need to consider the ethics
of copying images (e.g., when using images from the Internet
in their own printed or electronic artworks, photocopying
others’ images)
C4 assess personal opportunities in ► research personal and career opportunities in visual arts (e.g.,
visual arts architect, art teacher, graphic designer, photographer, film
maker, collector, docent)
► give reasons for why they might participate in particular
visual arts opportunities in the future as recreation or as a
career (e.g., relate to personal interests, training required)

D1 create a structured critical ► describe, interpret, and evaluate selected artworks using
response to artworks and defined criteria, with reference to characteristics such as
exhibitions − ideas and emotions evoked
− literal or symbolic meaning communicated
− subject matter
− purpose of artwork
− materials and processes used
− specific elements and principles used
− specific image-development strategies used
► evaluate the effectiveness of a variety of displays and
exhibitions (e.g., in relation to the theme or purpose,
appropriateness for audience and venue)
► use appropriate terminology (e.g., juxtaposition,
metamorphosis, distortion, form, function, unity) in their
critical responses to images and exhibitions
D2 develop group and individual ► discuss considerations for exhibitions, including venue,
exhibitions for particular audience, and purpose
audiences and purposes ► collaborate as a group to determine criteria for selection and
arrangement of own and others’ works for exhibitions
► select appropriate images from their collections for
exhibitions and evaluation, and defend their choice
► create an artist’s statement to describes their image(s),
including their use of image sources, image-development
strategies, elements, principles, materials, and processes (e.g.,
“I used a memory of ____ to create this sculpture because
_____.” “I used red to emphasize ____ in this collage.”)
GLOSSARY
Glossary
The following pages define selected terms used in this curriculum as they pertain to visual arts education.
These definitions provide specificity and context to help clarify the intent of expectations articulated in the
curriculum. This glossary is a starting point only, and is not intended to be an exhaustive list of terminology
related to visual arts.
abstraction an image-development strategy that reduces a subject to its essential visual

elements (e.g., lines, shapes, colours).
animation an image-development strategy that gives human characteristics to nonhuman

forms.
artist’s statement a written or spoken account concerning the aims, influences, and background of
the artist’s work. Such statements are often posted next to an image in an
exhibition.
balance a principle of design concerned with the arrangement of one or more of the
elements so that they give a sense of equilibrium in design and proportion (e.g.,
balance of shapes or colours, lightness and darkness). Balance includes
• symmetrical balance —the image is equal on both sides of an imaginary line
(e.g., a butterfly, a human face)
• asymmetrical balance —each side of the image are different but equal (e.g., a
large shape on one side and several small shapes on the other)
• radial balance — the design radiates from a central point (e.g., a wheel, a
mandala, a cross-section of a piece of fruit)
context circumstances influencing the creation and interpretation of a visual artwork dance,
drama, or music work. Context includes social, cultural, historical, and personal
circumstances (e.g., age, sex, gender, belief systems, socio-economics,
environment and geography, socio-political, trends and fashions, technology,
migration).
contrast a principle of design that juxtaposes strongly differing uses of one or more of the
visual elements for effect.
creative process an ongoing and circular process of exploration, selection, combination, refinement,
and reflection to create visual artworks, dance, drama, or music.
cultural appropriation use of cultural motifs, themes, “voices,” images, etc. without appropriate context
or in a way that may misrepresent the real experience of the people from whose
culture it is drawn.
distortion an image-development strategy used to misrepresent and pull out of shape part or
all of the components of an image.
elaboration an image-development strategy used to add detail or decoration to some or all of

the components in an image.
emphasis a principle of design concerned with making one or more elements stand out in
such a way as to appear more important or significant.
GLOSSARY
exaggeration an image-development strategy used to enlarge, intensify, and make abnormal
some or all of the components in an image.
form the visual element that pertains to an actual or implied three-dimensional shape of
an image. Forms may be geometric (e.g., sphere, cube, pyramid) or organic (e.g.,
animal forms).
found objects everyday objects incorporated into or used to create an image.
fragmentation an image-development strategy used to detach, isolate, or break up some or all of

the components in an image.
image the term used to describe all visual artworks, ranging from a simple mark on paper
or a cave wall to elaborate architectural forms. Images may be representational,
abstract, conceptual, performance-related, or functional; they may be two-
dimensional or three-dimensional (2-D or 3-D), and they may be static or kinetic.
image-development processes that transform ideas and experiences into visual images. Image-
strategies development strategies include elaboration, repetition, simplification, abstraction,
multiplication, superimposition, fragmentation, animation, serialization,
stylization, rotation, reversal, point of view, magnification, minification,
juxtaposition, distortion, exaggeration, and metamorphosis.
image source the starting point or inspiration for an image. Image sources include imagination,
memories, emotions and feelings, ideas and concepts, observation, and other
sensory experiences.
juxtaposition an image-development strategy used to place, side by side, two or more images or
elements in a way that changes the meaning or effect of each.
magnification an image-development strategy used to increase the apparent size of some or all of
the components in an artwork.
maquette a small sculpture made as a trial for a larger piece; a 3-D sketch.
materials refers to the substances used to make visual images (e.g., paper, paint, ink,
charcoal, chalk, fabric, thread, clay, wood, bark, found materials).
metamorphosis an image-development strategy used to change one form or image into another.
minification an image-development strategy used to decrease the apparent size of an image.
movement a principle of design concerned with creating a feeling of action or a series of

actions, and with guiding a viewer’s eye through an image.
multiplication an image-development strategy using repetition or reproduction to create an image

or series of images.
pattern a principle of design concerned with repetition of one or more of the elements in a
regular and planned way.
GLOSSARY
point of view an image-development strategy used to position the viewer relative to the created
image (e.g., a worm’s eye view, a bird’s eye view).
principles of design the planned use of the visual elements to achieve a desired effect. Principles of
design include pattern, symmetrical balance, radial balance, asymmetrical balance,
contrast, emphasis, movement, rhythm, and unity.
processes the means by which a visual image is made (e.g., painting, drawing, carving,
sculpting, sewing, weaving, collage, assemblage, printmaking, photography,
digital imaging).
repetition a principle of design in which one or more of the elements of an image appear
again and again for effect.
reversal an image-development strategy used to turn inside out, invert, transpose, or

convert to the opposite an effect in all or a portion of the image.
rhythm a principle of design that uses the regular movement or repetition of one or more
elements of an image for effect.
rotation an image-development strategy used to revolve, move, or rearrange an image or

parts of an image.
serialization an image-development strategy that repeats multiple variations of an image in

connection with each other.
simplification an image-development strategy whereby an image is made less complex by the

elimination of details.
symmetrical balance see BALANCE.
space a visual element that pertains to the real or illusory 3-D expanse in which an image
or the components of an image exist or appear to exist.
superimposition an image-development strategy involving the placement of one component over

another; overlapping or merging some part of an image.
technologies tools for visual image making (e.g., paintbrush, pencil, carving knife, brayer, kiln,
loom, computer hardware & software, camera).
tone a visual element that pertains to the effect of lightness and darkness on one or more
parts of an image.
unity a principle of design concerned with the arrangement of the elements of an artwork
to create a coherent whole.
value a visual element that pertains to the relative lightness and darkness of colour in an
image.
visual elements lines, shapes, colours, spaces, textures, form, values, and tones that constitute the
component parts of a visual image.

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VISUAL ARTS

Limited Exception to Non-Reproduction

Prescribed Learning Outcomes and Suggested Achievement Indicators .......................................... 11

GT Publishing Services editing and consultation

Julie Johnston School District No. 37 (Delta)

and the participants at the BC Arts Education Focus Schools Forum

Mike Emme University of Victoria

Visual Arts K to 7: At a Glance

Grade 4 Grade 5 Grade 6 Grade 7

Prescribed Learning Outcomes and

Skills and Strategies

Exhibition and Response

Skills and Strategies

Exhibition and Response

Skills and Strategies

Exhibition and Response

Skills and Strategies

Exhibition and Response

Skills and Strategies

Exhibition and Response

Skills and Strategies

Exhibition and Response

Skills and Strategies

Exhibition and Response

Skills and Strategies

Exhibition and Response

abstraction an image-development strategy that reduces a subject to its essential visual

animation an image-development strategy that gives human characteristics to nonhuman

elaboration an image-development strategy used to add detail or decoration to some or all of

found objects everyday objects incorporated into or used to create an image.

fragmentation an image-development strategy used to detach, isolate, or break up some or all of

minification an image-development strategy used to decrease the apparent size of an image.

movement a principle of design concerned with creating a feeling of action or a series of

multiplication an image-development strategy using repetition or reproduction to create an image

reversal an image-development strategy used to turn inside out, invert, transpose, or

rotation an image-development strategy used to revolve, move, or rearrange an image or

serialization an image-development strategy that repeats multiple variations of an image in

simplification an image-development strategy whereby an image is made less complex by the

symmetrical balance see BALANCE.

superimposition an image-development strategy involving the placement of one component over

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