Scheme of work for Art and Design
The following guidance may be helpful for teachers who want to review or
create their own scheme of work.
(1) Constructing a scheme of work for Art and Design
When developing a scheme of work teachers may find it helpful to consider:
• the aims, purposes and priorities of the school
• agreed time allocations for art and design in each year
• the aims and purposes of art and design at Key Stage 3, and the subject's
contribution to the whole curriculum
• how content may best be balanced and sequenced, e.g. balance of art, craft
and design, and of individual and collaborative work
• how to check pupils' progress
• the practicalities of organising the teaching of art and design, e.g. activities
which require more sustained time; opportunities for visits to museums,
galleries and sites during the school year
• links with other curriculum areas
• ways in which pupils make progress in learning art and design
(2) Evaluating Art and Design Schemes of Work and units
How far do the school's scheme of work and units:
• provide long- and medium-term plans that are clearly linked to the national
curriculum programme of study and level descriptions?
• provide a secure basis from which teachers can plan lessons to meet the
needs of all pupils in the class?
• show how ideas and skills are built up in an organised, systematic and
rigorous way based on learning that has already taken place?
• show links between the areas of the art and design curriculum including
practical skills and the skills of critical evaluation?
• link teaching activities to the learning they are intended to promote?
• identify what pupils are expected to learn, both within a unit and by the end of
a specified period, and how pupils' learning might be assessed?
• provide opportunities for the development of literacy, mathematics and ICT
and, where appropriate, links to other subjects?
• give indications of the time needed to teach each unit?
(3) Evaluating the extent to which a Scheme of Work encourages progression
in pupils' learning in Art and Design:
• What is known about what pupils have already achieved when they enter the
key stage and how does this affect the pitch of the early units?
• Which ideas and skills in art and design depend on secure foundation of
practical experience?
• How can units be sequenced so that earlier work lays the foundations for later
work?
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• Are there opportunities for revisiting and reinforcing the ideas pupils need to
understand and which some will find difficult?
• When ideas are revisited or reinforced is it in a different context or using
different activities?
• How are pupils who have some competence or expertise beyond the levels
expected in particular years challenged?
• How far do the school's scheme of work and units provide opportunities for
pupils, as they move through Key Stage 3, to progress:
From
To
Exploring ideas and collecting
visual and other information for
their work.
Exploring ideas for different purposes and
audiences; selecting and using relevant visual
and other information to help them develop their
ideas.
Investigating visual and tactile
qualities in materials and
processes.
Investigating, combining and manipulating
materials and processes, combining and
organising visual and tactile qualities and
matching these to ideas and intentions.
Commenting on similarities and
differences between their own
and others' work and adapting
and improving their own work.
Comparing, commenting on and critically
evaluating ideas, methods and approaches used
in their own and others' work, relating these to
the context in which the work was made, and
adapting and refining their own work to realise
their intentions.
About the unit
In this unit, pupils explore contemporary design and the ways in which artists take
ideas from nature and the work of others and synthesis these into new creative
forms. They develop their own ideas and design and make woven textiles, a
ceramic form, a three-dimensional construction or body adornment. They
investigate the influence of art from natural forms, different cultures and traditions
on fashion and design. This unit might take 10–15 hours.
What the unit covers – formal elements:
Line – Tone – Colour – Pattern – Texture – Shape – Form – Space
Techniques:
Painting – Collage – Print making – Digital media – Sculpture Textiles
This unit could be linked effectively with a visit to a museum or gallery …
Prior learning:
It is helpful if pupils have:
• discussed styles of art from different times and places
• considered how a style of art can show the influence of other styles
• discussed the difference between appreciation & preference
• learnt the importance of making a personal response
• used artistic conventions that are associated with a particular style of art in their
own work
Language for learning
Vocabulary relating to design – e.g. aesthetic, style, stylised, influences, abstract,
motif, exotic, organic shapes and repeat pattern
Practitioners:
• Painters – O’Keeffe, Rivera
• Designer – Voysey – print making e.g. stencil, screen, black print
• Fashion designer – Treacy e.g. design brief, shaped decorative fabric
• Photography – Madotti, Cunningham - commercial
Resources:
• Materials for work
• Samples of plant forms
• Examples of decorative and applied arts in distinctive styles
• Examples of the work of contemporary designer-makers

Assessment objective 3
Develop ideas through sustained investigations and exploration, selecting and
using materials, processes and resources, identifying and interpreting relationships
and analysing methods and outcomes.
Demonstrating development through:
• exploring ideas and making selections
• exploring different media
• trying out different compositions
• using different viewpoints
• cropping and enlarging images
• using different colourways
• manipulating images
• preparing working drawings.
• using materials.
Demonstrating understanding of:
• formal elements
• visual language
• techniques and processes
• modification and refinement
• handling equipment safe

 Case Study: Matisse ‘Jazz’ series
Pochoir (French 'stencil') a highly skilled stencil technique practised in a
specialised workshop and used for making multicolour prints… and for colouring
reproductions and book illustrations.
Collage, from the French coller 'to gum' a pictorial technique in which pieces of cut
paper of all shapes and types are combined and stuck down onto another surface
to create a design…
In 1943, Henri Matisse began work on a set of collages to illustrate an, as yet,
untitled and undecided text. This suite of twenty images, translated into "prints" by
the stencilling of gouache paint, became known as Jazz---considered one of his
most ambitious and important series of work.
The depiction of Icarus falling through a field of deep blue with yellow starbursts all
around him can also be read as a visual metaphor for the resistance fighters'
courageous attempts to navigate the skies between the Nazi artillery shelling.
Matisse was concerned that the reproductions in the book kept faith with the rich
bright colours of the originals. After a lot of deliberation and consultation with
craftspeople he settled on pochoir as the best way of achieving this.
Pochoir was an ideal choice for reproducing Matisse's twenty cut-outs called Jazz,
depicting circus scenes, folklore subjects, life in Parisian music halls, and the
artist's own travel experiences.
It was in the early 1940s, when he was confined to his bed for most of the day, that
Matisse began to pursue the cut-out as an art form. His assistants painted opaque
watercolour onto white sheets of paper, which Matisse in turn cut into a variety of
shapes, often retaining both the primary form (the "positive") and the cut-away
piece (the "negative"), arranging them in vibrant juxtapositions. He pinned and repinned
the pieces to the wall of his studio until he was finally satisfied with the
overall harmony of the composition.
The two principal themes to be found in Jazz are the noise and excitement of the
circus (the series was originally named Le Cirque, but Matisse changed it before
publication) and the syncopated rhythms of popular jazz music. In the The Horse,
the Rider, and the Clown the horse is the only distinct figure; the equestrienne is
implied by her fan-shaped skirt, overlapping the horse's flank, and the clown by his
vibrant costume in green, black, and yellow.