english for art, design and multimedia - english4art

Transcription

ENG
L
I
DESI SH FOR
G
A R T,
AND N
MUL
TIME
DIA
TEACHER’S NOTES
HANA ATCHESON , HELENA JANASOVÁ , TEREZA SKOŘEPOVÁ
English for Art, Design and Multimedia
Teacher’s notes
Hana Atcheson, Helena Janasová, Tereza Skořepová
Zlín 2011
Tato publikace je spolufinancována Evropským sociálním fondem a státním rozpočtem České republiky.
1. vydání
© Hana Atcheson, Helena Janasová, Tereza Skořepová, 2011
ISBN 978-80-7454-120-9
TEACHER’S NOTES
Tato příručka vznikla v rámci projektu Inovace výuky angličtiny v programu Výtvarná umění Fakulty
multimediálních komunikací Univerzity Tomáše Bati ve Zlíně. Tento projekt je spolufinancován Evropským
sociálním fondem (ESF) a státním rozpočtem České republiky.
Evropský sociální fond je jedním ze tří strukturálních fondů Evropské unie. Je klíčovým finančním nástrojem
pro realizování Evropské strategie zaměstnanosti. Hlavním posláním ESF je rozvíjení zaměstnanosti, snižování
nezaměstnanosti, podpora sociálního začleňování osob a rovných příležitostí se zaměřením na rozvoj trhu
práce a lidských zdrojů. Více informací naleznete na webových stránkách ESF viz http://www.esfcr.cz/.
Název operačního programu:
Název prioritní osy:
Název oblasti podpory:
Název projektu:
OP Vzdělávání pro konkurenceschopnost
7.2 Terciární vzdělávání, výzkum a vývoj
7.2.2 Vysokoškolské vzdělávání
Inovace výuky angličtiny v programu Výtvarná umění
Podrobné informace o projektu získáte na webových stránkách projektu viz http://english4art.fmk.utb.cz/.
OBSAH
INTRODUCTION TO THE COURSE
/9
1 ELEMENTS AND PRINCIPLES OF DESIGN
/11
2 WHAT DOES YOUR YANTRA TELL ABOUT YOU?
/15
3 COLOURS IN MARKETING
/17
4 MATERIALS
/19
5 MUSEUM JOBS
/24
6 IMAGINE - PLAN - CREATE (DESIGN PROCESS)
/31
7 MEDIA AND ADVERTISING
/34
8 SO, WHAT IS IT YOU DO?
/40
9 WHAT’S IN A SHAPE?
/44
10 PROCESS OF FILM MAKING
/47
11 IN THE SKIN OF…
/55
12 DRAWING WITH LIGHT
/58
INTRODUCTION TO THE COURSE II
/61
13 ART MEDIA AND TECHNIQUES
/62
14 INTERIOR DESIGN AND ART INSTALLATIONS
/66
15 ARTIST PORTFOLIO
/71
16 STORYBOARDS
/73
17 PRESENT YOURSELF
/75
18 ECO DESIGN /81
19 PRESENT YOURSELF II
/85
20 TENSE TIME!
/87
21 GRAPHIC DESIGN
/94
22 TEAM ROLES
/100
23 BE CREATIVE
/108
24 PUTTING BRICKS TOGETHER
/115
CONSOLIDATION
/117
TEACHER’S NOTES 7
TEACHER’S NOTES 8
Introduction to the course
Self-Evalution According to CEFR
TIME
20 min
AIMS
Evaluating one’s language skills.
MATERIALS
Photocopies of student’s worksheets.
PROCEDURE
1 Discuss briefly with students what they see as real challenges when learning a language. How do they cope
with them? Introduce the idea of CEFR (Common European Framework of Reference) and ask whether they
know where they stand.
The CEFR describes language ability on a scale of levels from A1 for beginners up to C2 for those who have
mastered a language. This makes it easy for anyone involved in language teaching and testing (learners,
teachers, teacher trainers, etc.) to see the level of different qualifications. It also means that employers and
educational institutions can easily compare qualifications and see how they relate to exams they already
know in their own country.
2 Distribute worksheets. Tell students to think about their own skills and ask them to assess themselves.
3 Discuss the results. Which category did they score more in? Ask students to comment on statements.
TEACHER’S NOTES 9
The authentic materials bank
TIME
20 min
AIMS
Vocabulary development, autonomous learning.
MATERIALS
PROCEDURE
1 Ask students, what they think The authentic materials bank is and what it is good for. Check the correct
pronunciation of authentic. Elicit answers and write their ideas on the whiteboard.
2 Explain that this is an ongoing assignment for the whole semester supporting their autonomous learning.
Ask them to collect examples of authentic materials that they use in their specialism (manuals, handbooks,
application forms, etc.). Remind them of various audio materials as well (lectures, podcasts, etc.).
3 Distribute the worksheet and ask students to complete the table so it is true for them. Allow time for
independent work then put them in groups/pairs with other students of the same specialism so that they
can discuss their ideas. Monitor and offer help if necessary.
4 Show them the course website with useful links and SAC.
5 At the end of the semester, each student will have collected materials you can later use when preparing
your lessons thus meeting the real needs of your students.
SOURCES
HARDING, K. English for Specific Purposes. Oxford: Oxford University Press 2007.
TEACHER’S NOTES 10
1 Elements and principles of design
SAMPLE TOPIC
Visual Grammar, Elements and Principles of Design - Intro.
TIME
50 min
AIMS
Broadening students speaking skills in the field of design description and understanding
of design in general.
Extending vocabulary related to basic elements and principles of design.
MATERIALS
PREPARATION
Students should be able to name their specializations in English correctly. As an English teacher prepare
a list of all specializations your school offers translated or follow official English translations the school has
already made obligatory.
PROCEDURE
1 Discuss briefly with students what fields of study they specialize in. Record their answers on the board.
Most likely, graphic design, shoe design, industrial design and so on will be listed. (Can students name their
field of study correctly in English?)
Distribute Worksheets A. Follow with more examples from each field and show examples in pictures from
Worksheets A. Ask students to choose one picture that will be closest to their art specialization and provide
about 3 minutes talk about their studio.
Go around and listen to different groups. When time is over, share some picture descriptions with the class.
What vocabulary has been used so far? List it on the board.
2 Worksheet B
Read the introductory paragraph and ask students if they have studied elements and principles in any
subjects during their studies. (theories of visual composition)
In visual arts as much as in literature, film, or music, there are different elements and principles to observe
and describe. An animated film just as an evening dress or a photograph is a piece of design which can be
described in detail using common visual elements and principles.
Tell students to look at the table 1 and work individually at this point. Allow about 3 min. Words once sorted,
provide any necessary feedback on solution and word meaning.
Suggested answers: (Table 1)
Elements
Principles
Characteristics of
Line
Unity
Pure
Colour
Opposition
Informal/Formal
Shape
Balance
Cross
Mass/Form
Emphasis
Implied
Texture
Harmony
Primary
Space
Proportion
Complementary
Dot
Rhytm
Leading
Radial
Vertical
Contour
When thinking about Contemporary Art, we can add more elements and principles. Visual art has extended
its means to bring new ideas, new concepts like sound, light and motion. It is expanding in its elements
which can bring a new dimension to our understanding of visual compositions. Ask students to comment
on this idea. Continue with further practice on word collocations with table 2 and 3.
Elements
Characteristics of
Dot, spot
Small, Large, Huge, Tiny, Round, Irregular, Random
Line
Implied, Contour, Leading, Formal , Informal, Vertical,
Horizontal, Diagonal, Curved
Colour (hue, value, intensity, tone, shade)
Primary, Elementary, Complementary, Monochromatic,
Analogous, Cold, Warm, Bright, Expressive, Radiant,
Vibrant, Dull, Natural, Artificial, Pastell, Earthy, Blending
Form
Basic, Simple, Distinctive, Unusual, Awkward, Symmetrical,
Cross, Square, Rectangular, Oblong, Round, Diamond,
Egg, Overlapping
Shape
Basic, Simple, Pure, Distinctive, Unusual, Awkward,
Symmetrical
Texture
Soft, Solid, Smooth, Coarse, Loose, Dense, Light,
Heavy, Pleasant, Salient
Space
2D, 3D, Open, Empty, Cluttered
Discuss what collocations are specific for English language and are translated differently into Czech.
Make sure you know proper meanings of the following: Cross shape / šikmý, Square shape / čtvercový,
Rectangular / pravoúhlý, Oblong / protáhlý, podlouhlý, obdélníkový, Solid texture / trojrozměrná textura,
hmatatelná, Solid form / masivní forma.
Elements
Characteristics of
Balance
Formal, Informal, Central, Radial, Cross
Emphasis
Great, Heavy, Strong, Main
Harmony, Unity
The Golden Mean, Complete, Absolute, Perfect, Relative
Opposition, contrast
Clear, Sharp, Striking, Strong
Movement
Fast, Rapid, Slow, Constant, Regular, Steady
Rhytm
Fast, Slow, Constant, Regular, Steady, Intricate, Easy
Pattern
Simple, Complicated, Intricate, Geometric, Floral
3 Worksheets C, samples of visual design and patterns.
Using the new vocabulary from previous activities, describe and compare the pairs of visuals with the class. After
a demo, ask students to work in pairs again. This time encourage them to use as many new words as possible.
Most likely descriptions you will hear will include:
It is a field, it is brown and grey. I don’t know but it is something like a hill and a building.
Monitor and make sure conversation is oriented to details:
This photograph shows a variety of texture, smooth or solid. It is interesting because the colours
are blending, not very bright but earthy and natural. There is pleasant harmony in colour and the
composition is nicely balanced.
Walk around the class and discuss any difficulties with language.
Choose two to three students to give a description of their favourite picture to the class.
4 Let students write down one of their descriptions and then let them read it in groups of five. Can they
recognise which picture is being described? Can they add anything more?
5 Let students choose from a pattern and texture they can see around in the classroom.
Make them write the description down this time. Writing practice and a guessing game add extra fixation
of new words and allow students to concentrate of forming better sentences in content as well.
Variation
Ask students to describe their own patterns they have on clothes or that are around them in the class.
FOLLOW UP
Refer students to further information on elements and principles from their own studio work. Ask them to
choose one of their designs (or a photo of it) to bring to class next time. The class then can compare in a
variety of used elements and principles.
For further practice ask students to look up a piece of art from art history. They can write a full description
of it using elements and principles. About 120 words.
SOURCES
Elements and Principles of Design, Student Guide with Activities, Crystal Productions (June 2000)
ISBN -13: 978-1562902711
2 What does your yantra tell about you?
SAMPLE TOPIC
The Colours of Yantra.
TIME
90 min
AIMS
Vocabulary development: describing patterns, shapes, structures and colours.
MATERIALS
PREPARATION
Read a short introduction into yantras. More information on the subject can be found at
http://www.tantra-kundalini.com/yantras.htm, http://www.indiayogi.com/content/yantra/,
http://en.wikipedia.org/wiki/Yantra.
Prepare a picture of yantra to show your students. Make enough photocopies of worksheets A and B.
PROCEDURE
1 Set the scene. Ask students if they happen to have a favourite colour. If yes, why do they think they like it?
What is the colour associated with? What kind of emotions/feelings does the colour arouse?
2 Show students a picture of a yantra. Can they think of anything similar they have ever seen? (Students may
be familiar with mandalas) – What do they think it is?
A pictorial Yantra, which is a symbolic diagram, is usually used to assist meditation. Yantra is one of symbols
which are used in Eastern mysticism to balance the mind or focus it on spiritual concepts.
The word “Yantra” is derived from two Sanskrit words - “Yam” means “to support” and “Trana” means
“freedom”.
Yantras are usually designed so that the eye is carried into the center, and very often they are symmetrical.
They can be drawn on paper, wood, metal, or earth, or they can be three-dimensional.
It is an interlocking matrix of geometric figures, typically circles, triangles and floral patterns that form
fractal patterns of great elegance and beauty. Though drawn in two dimensions, a Yantra is supposed to
represent a three dimensional object.
Yantras are also used for more mundane purposes, to enhance the quality of life, to attract prosperity and
abundance, even love, to heal and relieve health problems, to protect oneself from negative forces and so
on. The Shri Yantra is one of the most famous and ancient yantra.
2 What does your yantra tell about you?
3 3 Ask students to describe the picture you have shown them (shapes, patterns, colours).
Shapes and patterns commonly employed in yantra include squares, triangles, circles and floral patterns but
may also include more complex and detailed symbols, for instance:
• The lotus flower typically represent chakras, with each petal representing a psychic
propensity (or vritti) associated with that chakra
• A dot, or bindu, represents the starting point of creation or the infinite, unexpressed cosmos
• The shatkona (Sanskrit name for a symbol identical to the star of David) composed of a balance
between:
• An upwards triangle denoting action (or service), extroversion, masculinity or Shiva
• A downwards triangle denoting introversion, meditativeness, goddess energy or Shakti
• A swastika represents good luck, welfare, prosperity or spiritual victory
• Bija mantras (usually represented as characters of Devanāgarī that correspond to the acoustic roots of a
particular chakra or vritti)
4 Students work in pairs. Distribute the sheet with nine pictures of a yantra. Ask students to look at the
pictures and describe their similarities and differences.
5 Students work individually. Ask students to think for 30 seconds about the yantra they like most. Ask them
which one it is and why.
6 Tell students that each yantra reflects qualities you currently need in your life.Distribute Worksheet B and
tell students to read what their yantra is about.
7 Introduce the elements and principles of design.Ask students if they know any?
Why are they important?
8 Distribute Worksheet C1 and C2.
Worksheet C1: Match nouns with definitions.
(Answers: Line, shape, colour, texture, space, rhythm, proportions, emphasis, balance, unity).
Worksheet C 2: Match groups of words with elements of design.
(Answers: Line, shape, balance, texture, colour)
9 Finish with Worksheet C/2, Writing. Students look around the class and choose a pattern or texture
which they describe with the words given above.
SOURCES
Tomlinson, Sarah. “Drawn Inward.” Yoga Journal. 082008, 71-75.
http://www.factmonster.com/ipka/A0769383.html
3 Colours in marketing
SAMPLE TOPIC
Brands, logos and colour power.
TIME
90 min
AIMS
Listening practice: to introduce what place a colour theory can have in practice for particular professions.
Vocabulary development: describing colours, its characteristics and personalities.
Speaking practice: comparing experiences and attitudes.
MATERIALS
PREPARATION
Bring colour wheel to class or prepare photocopies. Students can bring their own colour wheels if they need
them in studio work.
PROCEDURE
1 Discuss with the students in what professions colours and a colour theory can play an important role.
Review with students their basic knowledge on primary and secondary/complementary colours. You can
start with a colour wheel and review what has been learnt in lesson 1.
Set the scene. Ask students if they have a favourite famous logo. If yes, why do they think they remember it?
What makes that logo easy to remember? What kind of emotions/feelings does its colour arouse?
2 Show students examples of world famous company logos as in Worksheet A.
3 Ask students to generate ideas on why a particular colour has been used for each logo design.
4 Worksheet B: Read together a text: Colour is a powerful branding tool. Answer the questions:
Why is colour an important marketing element?... It enables brand recognition, customers recognise the
company products faster, it evokes feelings/emotions in advertising. Why did IBM choose blue as their brand
colour? The company wants their customers to see them as secure, reliable, confident, which colour blue
can send as a message. Are colour associations and meanings the same across cultures? No, in fact cultural
understanding of colour can be very different.
3 Colours in marketing
5 Now go on to read about colour characteristics. Ask students to decide which colour matches with which
characteristic. Let students complete the table. Provide feedback and discuss the right solution with the
class. Remember that individuals can have slightly different colour associations even within the same culture.
Answers: 1 Blue, 2 Green, 3 Yellow, 4 Red, 5 Orange, 6 Purple, 7 Black, 8 White, 9 Brown
6 Go back to the logo examples in worksheet A and discuss in detail what the colours represent for each company.
7 Watch a short advert for McDonalds, McDonalds Green Mood.
Source: You Tube- “McDonalds Green Mood Comercial” (with the spelling mistake in commercial)
8 Discuss the impression from the commercial with the students.
What is the company trying to convey as the main message? (they are introducing healthier diet, salads,
fruit drinks). How is colour symbolism used to help with sending the main idea across? (green shades and
nature setting bring out the idea of healthy living). Is it trustworthy? (hard to believe because the company
does not change many other things in their meat and food preparation and the main menu stays the same).
How about the quality of the commercial as such? (rather cheap?)
9 Continue with the Virgin brand or find another relevant advert video. Students find the answer to the
question: What does the Virgin company do to make sure the right shade of red is used with their logo?
(produces an eighteen-page guide). Find out if anybody knows that the Virgin brand is very strongly associated
with its logo and its main tycoon owner, Richard Branson. There are many TV spots and interviews to be
found on You Tube. Look up a photograph of Branson, someone may recognise the entrepreneur´s photo
before you give out his name.
10 Distribute the Worksheet C. Why to incorporate colour into your brand is a short list of ideas why colour
can help to express company philosophy in a corporate design. Ask students to read only one paragraph.
Form up groups with students who read different paragraphs. Let them sum up advice from the text using
their own words. The last question: Have you worked in any of the fields that participate in corporate image
design? Is not only for graphic designers but for interior design students too.
11 Homework assignment: Look up a Czech company with a strong colour identity and prepare to describe
it in the class next week. Bring pictures if possible.
Variation
Case study 2, Virgin brand. Find out if students know the British Virgin brand established by Richard
Branson? What image does it have?
Ask students to think about changing colours of famous company logos. Would Coca-Cola associations work
well if the logo colour changed to purple? Can they imagine a green logo for Ferrari?
FOLLOW UP
Optional extra activities can come from a differently selected advert. Vodafone or T Mobile corporate imaging
is very complex. Can students describe them?
SOURCES
http://www.artyfactory.com/color_theory/color_theory_terms_1.htm
http://www.precisionintermedia.com/color.html
4 Materials
SAMPLE TOPIC
Materials commonly used in a different way.
TIME
90 min
AIMS
Vocabulary development: materials and their properties.
Language: passive voice.
Listening and speaking practice: describing the creative processes.
MATERIALS
Photocopies of student’s worksheets. Examples of an unusual use of a material.
PREPARATION
Homework (to be set the lesson BEFORE this one): go to http://www.materia.nl/531.0.html
» Become a member (free of charge) » Log in » Choose one material from each section
(wood, natural stones, etc.) » Be ready to introduce the chosen materials to your classmates.
PROCEDURE
1 Ask students if and why it is important to know materials and their properties in their field. ”Answer”
by distributing Worksheet A/1 where they find a quote by Jonathan Ive, Apple’s Senior Vice President of
Design. Do they agree/disagree?
For a designer to continually learn about materials is not extracurricular, it’s absolutely essential.
Jonathan Ive, Apple’s Senior Vice President of Design
2 Start the lesson with a short and easy quiz to tune in. Worksheet A/1: Listening. Students listen and
tell you which picture (here material) is being described. Remind them to note down any new and relevant
vocabulary in the space provided (and keep doing so throughout the lesson).
http://www.elllo.org/english/Games/G004-Materials.html#TextPage
Transcript:
OK, let’s talk about clothing, or more specifically, materials that make clothing. This first material comes from
sheep. We use it to make sweaters and gloves, scarves and even hats. Do you know what it is? It’s wool.
4 Materials
OK, this next material also comes from animals. It actually comes from the hide of animals or animal skin.
We use it to make jackets and belts and shoes. You know what it is? It’s leather.
OK, this next material comes from trees and it is extracted from trees to make a very bouncy material,
very tough material, and we use it for the bottoms of shoes and sometimes for belts and jackets and
things like that. Do you know what it is? It’s rubber.
OK, this next material comes from insects, not animals, and it’s material is very light and very smooth and
soft and usually shiny. Do you know what it is? It’s silk.
OK, this next material actually comes from the ground. You have to dig in the ground to go and get it, and
we use this material to make things like jewellery, such as bracelets, earrings and necklaces. We also use
it to make buttons sometimes. It’s metal.
OK, the last material is very common. Almost everybody uses this material. It comes from a plant and we
use it to make t-shirts and denim for blue jeans and socks and sweaters, lots of things. It’s cotton.
Note: Where fibres come from:
Natural fibres come from plants and animals: cotton from the cotton plant, linen from the flax plant, wool
from sheep, silk from silkworms.
Synthetic fibres are manufactured using plant materials and minerals: viscose comes from pine trees or
petrochemicals, while acrylic, nylon and polyester come from oil and coal.
3 Worksheet A/1: Speaking
First students guess the materials (individually or in groups) in the pictures.
Answers:
I am not a paper cup – porcelain cup with a silicone lid (Décor Craft Inc.)
Norm 69 lampshade – polypropylene (Simon Karkov)
Black-Light – aluminium foil (Charlie Davidson)
Air Chair - polypropylene with added glass fibre (Jasper Morrison)
Brown Paper Handbag – corrugated cardboard, leather, chrome buckles (Giles Miller)
Then they introduce each other the new materials they have chosen. Why have they chosen them? Monitor,
provide feedback for the whole class, ask students to write the materials on the whiteboard. You may want
to share your “favourite” materials from the website http://materia.nl/ with your students, encouraging
them to speak.
4 Worksheet A/2: Word power/Word formation
Elicit from students materials they know and/or use in their specialism. Write them on the whiteboard or
ask students to do it.
4 Materials
Note:
Plastics, composites, glass, textiles, metals, paper, glass, etc. Thermoset plastics can only be heated and
shaped once. The main thermoset plastics are epoxy resin, melamine formaldehyde, polyester resin and urea
formaldehyde. Thermoplastics can be heated and shaped many times. Some common thermoplastics are
ABS (acrylonitrile butadienestyrene),
Nylon (polyamide), acrylic (polymethyl methacrylate), uPVC (polyvinyl chloride), polystyrene,
polypropylene and cellulose acetate.
Composite materials are formed by combining and bonding two or more materials - a reinforcing material
and a bonding agent such as glue.
MDF [MDF: Medium-density fibreboard - a type of engineered wood made of compressed wood and fibre
particles held together with glue ] and GRP [GRP: Glass-reinforced plastic - a strong and versatile material
made by combining a plastic (usually polyester resin) with fibres made of glass ] are examples of composite
materials.
There are two types of timber: softwood and hardwood. Softwood timbers usually come from coniferous
trees such as fir and pine. They do not have the hard cell structure that gives hardwood trees their name.
Hardwood timbers come from broad-leaved, deciduous trees, and are more important in Design and
Technology than softwood timbers. The main hardwood timbers are ash, beech, birch, cherry, elm, iroko,
mahogany, meranti, oak, obeche, sapele and teak.
Ferrous metals contain iron. Examples are cast iron, mild steel, medium carbon steel, high carbon steel,
stainless steel, and high speed steel. Both ferrous and non-ferrous metals are divided into pure metals and
alloys. A pure metal is an element - e.g. iron, copper, gold - unalloyed (not mixed) with another substance.
An alloy is a mixture of two or more elements (e.g., iron and carbon) to make another metal with particular
properties (e.g. steel). Non-ferrous metals do not contain iron. Some common non-ferrous metals are
aluminium, duralumin, copper, zinc, brass, gilding metal and tin.
Ceramics are made from clay, sand and feldspar [feldspar: a very common group of hard, crystalline
minerals containing silicon]. These materials are ground to a fine powder, mixed together and fired at high
temperatures (700 - 2000°C) in the production process.
Go back to Worksheet A/2: Word power/Word formation
Students work in pairs or independently, depending on their level. First they match the nouns with their
definitions and then they make adjectives and use them in sentences. Encourage the use of other expressions
that describe materials (you can write them on the whiteboard):
brittle, heat-resistant, resistant to corrosion, flexible, glossy, UV resistant, renewable, light, resists
chemicals, scratches easily, transparent, water-resistant, creases resistant, creases badly, breathable, etc.
Answers:
Conductivity – conductive (vodivý)
The ability of a material to conduct heat or electrical energy.
Strength – strong
The ability of a material to withstand a force without breaking or bending.
Elasticity – elastic
The ability of a material to bend and then to return to its original shape and size.
4 Materials
Plasticity – plastic
The ability of a material to permanently change in shape.
Malleability – malleable (kujný, tvárný)
The ability of a material to permanently deform in all directions without cracking.
Ductility – ductile (tažný, tvárný)
The ability of a material to deform, usually by stretching along its length.
Hardness – hard
The ability of a material to resist wear, scratching and indentation.
Toughness – tough (pevný, tuhý)
The ability of a material to withstand blows or sudden shocks without breaking.
Durability – durable (odolný)
The ability of a material to withstand wear, especially as a result of weathering.
Fusibility – fusible (tavitelný)
The ability of a material to change into a liquid or molten state when heated to its melting point.
5 Distribute Worksheet B: Speaking and reading and ask students what the pictures have in common. You
can show them the clips fro YouTube after they have done the reading part of the exercise.
Sonic Fabric is Brooklyn-based artist Alyce Santoro’s venture that weaves textiles from recycled
audio cassette tapes recorded with sounds she considers sacred. The fabric emits a melange of sound
when swiped with the head from a tape player and can double as a musical instrument, like when Jon
Fishman of Phish wore Santoro’s “Sonic Rhythm Dress” and gloves fitted with tape heads in concert.
http://www.youtube.com/alyceobvious#p/u/11/0VJpmukjces (sonic fabric)
http://www.youtube.com/alyceobvious#p/u/8/HbNR7bT0yyE (the musical suit)
Continue with exercise 2; matching questions and sonic fabric designer’s answers.
Answers:
A/4 B/6 C/2 D/5 E/3 F/1
6 Finish your lesson by “The Three-Minute Talk Machine”. Worksheet B: Speaking. Tell students they have
three minutes to talk about a chosen topic they have in their handouts using the structure given below
the topics. You may speak first – setting an example, making it sound like improvising, thus encouraging
students to speak. Add any topic according to your students’ field of study.
Follow-Up
Optional reading
Giles Miller’s innovation: cardboard as a material for design
Cardboard boxes contain many intrinsic ecological plus points. Made from cellulose fibres, cardboard can be
easily recycled. At the end of its useful life it can even be composted. But because cardboard is lightweight
and seemingly plentiful it’s often tossed on the rubbish heap prematurely; its ubiquity has made it seem
worthless. Designer Giles Miller thinks we’re missing a trick.
“It’s a brilliant material,” he says, and admits to “falling in love” with cardboard when the strap broke on a
laptop shoulder bag he was carrying and the computer was damaged. “I began experimenting with making a
laptop bag in cardboard, and after alternating the direction of the corrugation I constructed something that
could take the force of the blow.”
4 Materials
His efforts to elevate cardboard as a material for design were given a boost when he made the infrastructure
for Stella McCartney’s pop-up shop at Galeries Lafayette in Paris last year. “We have a responsibility as
designers to acknowledge the impact and the lifespan of the products we put out there,” says Miller. “Why
not use a material we know can be recycled easily and why not also address why something that has such
structural integrity and potential is always thought of as having a short lifespan?”
To counteract such prejudices, he has designed a collection of “”heirloom” items, starting from £28, and
including a grandfather clock (£120) and even a wardrobe (£180). All his pieces are flat pack – formerly
indicators of a brief working life – but the clock contains a working mechanism made from brass, handmade
in the UK by craftsmen and “built to last”, as Miller puts it.
Comments
If you have some extra time:
Art materials timeline
http://www.bbc.co.uk/schools/gcsebitesize/art/practicalities/materialsrev1.shtml
SOURCES
http://www.elllo.org
http://materia.nl/
http://www.youtube.com/alyceobvious#p/u/11/0VJpmukjces
http://www.youtube.com/alyceobvious#p/u/8/HbNR7bT0yyE
http://www.bbc.co.uk/schools/gcsebitesize/art/
http://www.bbc.co.uk/schools/gcsebitesize/design/
http://idsamp.wordpress.com/category/materials/
http://www.guardian.co.uk/environment/2010/sep/26/innovator-giles-miller-cardboard-design-corrugation
5 Museum job openings
SAMPLE TOPIC
Job openings at MOMA New York, Guggenheim in New York and some other world museums.
TIME
90 min
AIMS
To introduce a job structure of a company in general and also specifically in relation to museum practice.
Listening practice: to prepare for a possible job interview.
Vocabulary development: describing responsibilities, museum job specifications.
Speaking practice: a job interview.
MATERIALS
PREPARATION
Homework to be set the lesson before this one. Ask students to collect information about one large museum
they have visited. Gather information about current exhibitions in your town. Bring samples of promotional
material to class.
PROCEDURE
1 Begin the lesson with a distribution of promotional materials from museums, galleries and more art shows
from your town. If your students have some of theirs, encourage them to share with others what places they
have visited and what art show they can recommend to the class.
2 Ask students to work in groups of three. Each group will make a list of types of job positions they think are
typical for a large museum. They can include any staff member, even a janitor or a floor supervisor. Provide
feedback in groups.
3 Distribute worksheet A to students and let them compare their lists with the organogram. Which position
did they forget to name? Do they know the responsibility it comes with?
4 Discuss together with the class typical responsibilities of each department:
Marketing – responsible for marketing activities in media, special events, sometimes also includes activities
in Public Relations.
Executive Curator – runs the exhibits, is in charge of permanent collections and temporary shows.
Digital Imaging – takes care of photo materials, photo documentation, any promotional materials prepared
for printing or other publishing.
Museum School – provides art classes and more educational activities to public.
Financial Manager – runs the financial office for the company.
Personnel Manager – hires new employees, takes care of staff benefits and social security.
HR – usually found in bigger organisations, then PR falls under them. Coordinates museum’s relationship
with public, donors, trustees, supporting organisations.
Use the verbs listed under the organogram to practice specific characteristics of the whole organisation structure.
5 After you go through the job positions and students are comfortable with their new vocabulary, ask them to
work in pairs. Each should choose one job position to characterise in detail. They cannot tell each other what
position they have in mind. The other student in pair will listen and then has to guess the job position.
6 Students should skim the job openings in Worksheets C and quickly look for similar expressions that
describe responsibilities of different museum job titles.
7 Worksheet B: Job interview: listening and speaking practice. After you distribute the sheets B, ask students
if they have been to a job interview. Can they remember what questions they have been asked?
8 Elicit some questions and write them on the board. Then write the following on the board:
Company name: In or Out to Lunch Catering Service
Job: Catering Assistant
Ask if any words are new and encourage the whole class to help with explaining the new words. Can they
predict what the company main activity is? Listen to suggestions. If they do not guess right, explain that it
is a company that provides lunches in its own café but also delivers to offices and other work places.
Ask what questions might be asked at the interview.
9 Listening: Tell students they are going to hear two interviews for the same job. Ask them to write down
the interview questions.
Play the recording twice. Ask students to compare their answers with their neighbour.
Source: Speaking Extra, CUP, Unit 14.2
10 Check the answers:
Could you tell me something about yourself?
How do you get on with people?
Why do you want this job?
What do you know about the company and the job itself?
Why do you think you can do the job?
What qualities would you bring to the job?
11 Ask students who they think will get the job. (the second person, who gives positive answers and examples
of their experience)
12 Tell students that they are going to practice job interviews for a job opening in a museum. Point out to
job openings listed in worksheet B. These are real job adverts for some major museums like MOMA in New
York or Design Museum in London. Ask students to skim the text to look for word expressions that were
listed in worksheet A, below the organogram. Point out to those and put them on the board again.
Answers:
1 Advert No. 1: Photographer Washington DC
The National Gallery of Art in Washington DC has an immediate opening for a digital photographer of
two-dimensional works of art on paper (prints, drawings and photographs). Works directly with the Digital
Imaging Director.
Experience in Adobe Photoshop and Light room in the service of digital image capture is required. The
photographer is responsible for a high-quality reproduction of images using an established archival workflow.
The applicant will be an independent contractor performing under a work-for-hire agreement with excellent
compensation. Applicants will need to pass a security background check. To apply, email an expression of
interest, available start date and CV showing relevant experience and three references before October 22
to: RapCap@nga.gov
2 Advert No. 2: Registrar Long Beach, CA
Museum of Latin American Art
The Museum of Latin American Art (MOLAA) in Long Beach, CA is seeking a Registrar to manage the planning
and the day-to-day operation, management, and care of MOLAA’s collection and related registration and
exhibition activities. The Registrar will oversee the production of permanent collection exhibitions and
travelling exhibitions. This position reports to the Chief Curator and supervises the Collections Assistant.
Bachelor’s degree (M.A. preferred) in Art History, Museum Studies, or related field required. 3-5 years
Registrar/collections management experience required. Candidate must be familiar with museum collection
and conservation methods and procedures.
For more information visit www.molaa.org If you are interested in this position please send resume, cover
letter and salary history to: jobs@molaa.org.
3 Advert No. 3: Operations/Gallery Staff Chicago/IL
International Museum of Surgical Science
Applications Contact person: Lynnea Smith
Email: lynnea@imss.org
Application due date: 10/10/10
Salary range: $9-$10/hr
Web Address: www.imss.org
We are looking for staff members for an educational and scientific exhibit opening in late October at the
International Museum of Surgical Science. Training for this position will start in mid October and the exhibit
is expected to run a minimum of six months. This position is part time, two to five shifts a week. The
primary responsibilities of this position encompass various duties as needed throughout the day.
Staff is in charge of greeting customers, taking tickets, crowd control, gallery assistance. The operations staff
reports to Personnel Manager.
Professional and clean appearance is expected as well as an ability to work up to 8 hour shifts on your feet.
Please respond with your resume and/or work history with references in the body of the email. This is a
contract job.
4 Advert No. 4: Moulding and Casting Expert Woodland Park, CO
Moulding and casting expert needed for full-time position in Woodland Park, Colorado. Applicant must have
successful and extensive experience moulding all types and sizes of fossil vertebrates including various silicone,
urethane and latex methods. Must be dependable, efficient and willing to occasionally travel. Together with
Associate curator will carry out research. Experience and skills in other areas of palaeontology (fieldwork /
preparation/ restoration/ reconstruction) is a plus but not required. Send email with resume, references,
salary requirements, and images and details of previous work to: mike@trieboldpaleontology.com.
This position is at the Triebold Paleontology, Inc. labs at the Rocky Mountain Dinosaur Resource Center in
Woodland Park, Colorado, elevation 8,500 feet. The climate is alpine with long winters and lots of snow with
short, warm summers. Woodland Park is a mountain community of about 7,500 residents, 15 miles west
of Colorado Springs.
5 Advert No. 5: Exhibits Design Chief Springfield, IL
Illinois State Museum, State of Illinois
Applications Contact person: Bonnie W. Styles
Salary range: Commensurate with education and experience
Web Address: www.museum.state.il.us
Job Description: The Exhibits Design Chief oversees and implements the Museum’s physical exhibition
program in art, history, anthropology, and the natural sciences. Oversees exhibition projects from conception
through design and installation; leads or co-leads exhibition teams with diverse staff; communicates with
external consultants and contractors on exhibition projects; and oversees exhibition section staff.
Qualifications: Minimum of a Bachelor’s (BA or BFA) degree in a field related to exhibition design such as
design, scene design, theatre design, or a related discipline is required. At least five years design experience
with art, history, anthropology, and/or natural history exhibitions required. For full listing and application
guidelines, please visit our website at www.museum.state.il.us
6 Advert No. 6: Senior Graphic Designer, London
Design Museum, London
Applications Contact person: Rebecca Warwick
Salary range: TBD
Web Address: www.designmuseum.org
Design Museum seeks an experienced senior graphic designer to run our graphic studio and to provide creative
strategy, overall design, project management, and quality assurance of the Museum’s graphic identity, style
guidelines, and visual communications. This job designs and produces publications, environmental graphics,
digital imagery, presentation materials, as well as a range of exhibition graphics.
Qualified candidates must be able to work independently and effectively with others, managing deadlines,
budgets, and clients. Must have a strong portfolio of work demonstrating a high degree of creativity,
diversity, and productivity. Extensive knowledge of Adobe Creative Suite 3 (InDesign, Photoshop, Illustrator,
and Acrobat), knowledge of Dreamweaver, HTML, and CMS systems, Microsoft Word, PowerPoint, and IWork
software and printing processes is expected.
Design Museum offers a competitive benefits program and a beautiful work environment in a professional
atmosphere. Designer must work on-site.
Send an e-mail with the job title in the subject line to recruitment@designmuseum.org. Please include cover
letter, resume, link to your on-line portfolio and your salary requirements. No phone calls, please.
7 Advert No. 7: Digital Imaging Manager | MoMA Retail
MOMA NY
The Museum of Modern Art, New York
www.moma.org
Develops, manages, and maintains imaging support services. Acts as in-house product photographer,
including photographing, silhouetting, and retouching still life images for print and Web. Acts as in-house
Web designer for MoMAstore.org, including creation of motion graphics, banner ads, HTML e-mail campaigns,
and some code editing. Designs, produces, and tests HTML E-News letter. Designs home pages to match
other retail messages or special online promotions. Manages image work for every SKU added to MoMAstore.
org. Creates page mock-ups for MoMAstore.org Web developers.
The Imaging Manager photographs/documents products, specifically for MoMAstore.org, followed up with
silhouetting, retouching, and resizing. Gathers, collects, and traffics images from vendors, outside agencies,
internal Museum departments, and public relations departments.
Photographs or obtains digital photographs of all current products sold by MoMA for website, advertising,
press materials, newsletters, printed collateral, etc. Photographs images for annual wholesale catalogue.
Archives and maintains image database. Reports to Assistant Creative Director.
Requirements:
Bachelor’s degree in multimedia/Web design/communication arts preferred. Interests or minors in photography,
graphic design, or IT a plus. Demonstrated experience with in-house digital product photography. Proven
efficiency in basic Web design, including knowledge in image retouching for Web. Work experience for
e-commerce a strong plus. Proficiency with Adobe Photoshop (retouching, silhouetting, colour correcting)
and reformatting images for print and online use. Skilled in advanced Photoshop techniques such as
Photoshop Actions, Adobe Bridge, batch processing, RAW images, metadata, and CMYK/RGB conversions.
Skilled in the use of additional creative tools including InDesign, Illustrator, Flash, Acrobat. Experience in
HTML coding of Web pages and e-mail. Experience in basic graphic design. Proficient on both Mac and PC
environments. Good sense of style and colour.
If you would like to submit your resume for consideration, please choose one of the following options:
By e-mail: jobs@moma.org (most preferred option)
By fax: (212) 333-1107
By mail: The Museum of Modern Art
The Department of Human Resources
11 West 53 Street
New York, NY 10019
8 Advert No. 8: Museum Floor Manager, Guggenheim
Guggenheim museum, New York
The job of a museum floor manager includes working with volunteers, coordinating staff, assisting visitors
to the museum as well as providing or organization educational information and guided tours. The museum
floor manager also contributes to changes in the museum and planning new exhibits and special events that
may happen either on or off the museum property. Often the floor managers work closely with educators
and other groups to provide ”travelling” exhibits that bring small samples of displays to one venue or
organization for educational purposes.
The floor manager oversees the day-to-day operation of his or her area of the museum. In our museum
he or she is directly responsible for managing the security of the area. Usually a floor manager will be on
the premises during museum hours and will respond to any concerns or potentially problematic situations.
A floor manager must have excellent communication and management skills as well as having an eye for
detail.
Common work activities include:
•
Recruiting, organizing, training and supervising of volunteers and staff on the floor area.
•
Overseeing the daily care and maintenance of the designated museum area.
•
Making recommendations or suggestions for change in displays or special events designed
to increase visitors to the exhibit or museum.
13 Divide the class into two equal halves, groups A and B. (If the number of students is not even, there will
be more candidates than interviewees.) Students in group A: Work as a group.
Think of possible questions you would like to ask your candidate. Students work together and plan their
strategy for the interview. They should have 3 to 4 extra questions (on top of the ones from the listening
practice) ready to ask their candidates.
Students in group B: Work individually. Choose one job position each and read it in detail. Study the text
and point out the most important characteristics of the job for yourself. Get ready to answer questions
similar to those listed in the listening practice.
14 After about 7-8 minutes students are put in pairs A-B, A-B, A-B or A-B,B if necessary. They are ready to
carry out their interviews. Go around the class and monitor. Help with any phrases and encourage use of
proper description of specific job responsibilities.
When the interviews are finished you can put students into new pairs. This time they exchange their roles
A and B.
Time providing, let some interviews to be role played for the whole class.
In conclusion, ask students which job they would see themselves in the most. What positives and what
downside could the job bring to them.
15 Finally, to close up, draw attention to the selected photographs of MOMA in New York, Guggenheim
Museum in New York, Tate Modern in London, Design Museum in London, Veletržní palác In Prague, National
Portrait Gallery in London and Louvre in Paris.
Ask students if they can recognise the buildings. As a homework assignment ask them to visit two of chosen
museums websites. They can choose to compare one not listed as well.
Instructions: compare the selected museums main orientation, nature of their exhibits and program offer for
public and for schools. What job positions were they able to find? Were there any different job titles listed?
VARIATION
Listening practice can be the first activity you start the lesson with.
FOLLOW UP
Students should keep their own file of visited art shows or visited museums. They can use it as a part of
their authentic materials bank.
SOURCES
Speaking Extra, A resource book, CUP, 2004
http://www4.wave.co.nz/~jollyroger/GM2/jobs/jobs.htm
www.moma.org
www.tatemodern.org
http://designmuseum.org/
http://www.tate.org.uk/modern/
http://www.guggenheim.org/
http://www.guggenheim.org/bilbao
http://deyoung.famsf.org/
6 Imagine - plan - create (design process)
SAMPLE TOPIC
Shoe Design Process.
TIME
90 min
AIMS
Language: lexis of design process relevant to your student’s specialism.
Other: to develop fluency, to identify the functional language the students need in their specialization.
TRANSFER
Activity can be transferred to any designing specialism.
MATERIALS
PROCEDURE
1 Draw the diagram on the board. What do the students think it describes? (design process)
2 Ask students about their own designing / working process – how does it begin? Is there something they
always begin or end with? Is there any stage they consider crucial/extremely challenging? Are there any
factors or criteria they always consider when designing? Brainstorm briefly.
Suggested Answers:
A designer might consider these steps in a designing process:
To manufacture - Can the product be made with our facilities?
To sell - Are we producing a product that the customer wants?
To purchase - Are the parts specified in stock, or do why have to order them?
To cost - Is the design going to cost too much to make?
To transport - Is the product the right size for the method of transporting?
To dispose (of) - How will the product be disposed at the end of its life?
Stages of a design process:
Design brief - (often the beginning) - statement of design goals
Analysis – analysis of current design goals
Research – investigating similar design solutions in the field or related topics
Specification – specifying requirements of a design solution for a product (product design specification[20])
or service
Problem solving – conceptualizing and documenting design solutions
Presentation – presenting design solutions
Development – continuation and improvement of a designed solution
Testing – testing a designed solution
Post-production design feedback for future designs
Implementation – introducing the designed solution into the environment
Evaluation and conclusion – summary of process and results, including constructive criticism and suggestions
for future improvements
Redesign – any or all stages in the design process repeated (with corrections made) at any time before,
during, or after production.
3 Distribute Worksheet A (cut into pieces). Ask students to put the individual steps of a (shoe) design
process in order. Do not tell them it is about a shoe design process yet. After they finish the activity, ask
them what the product could be (shoes – last/heel/outsole)
Answers: Meet with Client, Research, Story Boards, Range Plan, The Design Brief, Initial Ideas, Last/Heel/
Outsole Development, Specifications, Briefing In, Samples Received/Amendments, Colourways / Material
Combinations, Final Sample
4 Distribute Worksheet B. You can either ask students to match the headlines to all paragraphs (which may
take up to 20 minutes) or you may divide the class into two large groups and ask each group to deal with
a portion of the text (A or B) or you can cut the worksheet and give each pair of students one of them and
ask them to match it to the correct headline. Inform students that there are more stages of a design process
than in the previous activity.
Answers:
text A: 1/B 2/F 3/G 4/C 5/D 6/A 7/E
text B: 8/O 9/M 10/L 11/J 12/K 13/I 14/H 15/N
5 Write on the board the individual steps you have gone through in worksheet A. Students compare their
own designing / working process with what they see on the board. Ask them to write down 5 -10 stages of
their design process. They need to be more detailed now than they were at the beginning of the class.
6 Students work in groups of the same specialization. They compare their notes and discuss their own
design processes. Ask them to find similarities and differences. Monitor their discussions. When they have
finished, ask them whether they tend to focus more on certain stages in their design process and why that is.
FOLLOW UP
If you wish, you may ask students to present their final version of design process to others. Or you can bring
a few pictures related to a design process and ask students to describe which stage of process it is and why
they think so.
SOURCES
http://www.designsojourn.com/category/design-process/
http://www.mos.org/eie/engineering-design.php
http://www.shoedesign.co.uk/design.htm
7 Media and advertising
SAMPLE TOPIC
Media and advertising – types, advantages and disadvantages, future development.
TIME
90 min
AIMS
Language: specific vocabulary related to forms and types of promotion.
Other: to develop fluency, to identify the functional language the students need when communicating
about forms of advertising and types of media.
MATERIALS
TRANSFER
Suggested activity can be transferred to a variety of media, magazine design or TV commercials with specific
examples from students own studio work.
PREPARATION
Download listening scripts from www.elllo.org or look for a script with a conversation on advertising. The
tables in worksheet B can be cut up into pieces to play a matching game.
PROCEDURE
1 Ask the class to tell you whether they have ever bought anything just because they saw an advert for that
product. Let students tell each other in pairs and then elicit some answers from the class. This way you
prepare the class for listening No. 1. A young girl tells about her being under influence of media advertising
in an honest and natural way.
2 Distribute Worksheet A. Ask students to get ready for listening. Play the recording twice and help the
students with the questions
Worksheet A, Listening.
Answers:
Buying under pressure?
http://www.elllo.org/english/0951/T959-Mel-Ads.htm
1 What is the main reason for Mellissa to buy something? (to reward herself)
2 What types of products does Melissa buy under advert influence? (food)
3 What is the word she uses for advertisement? (commercial)
4 What example association does she give when talking about red and yellow? (she remembered Wendy’s
fast food chain and bought a milkshake)
5 Can you estimate Melissa’s age and origin? (18 up, USA)
4 After listening to Melissa, students should be ready to remember types of promotion that is mostly used
by food industries. ( TV adverts or hoardings, sometimes radio broadcasts or just shop signs) Can students
generalise any methods of promotion at this point? Media or internet advertising could be mentioned.
5 Move on to the following practice in Worksheet A, where students get acquainted with the major marketing
strategies used today in promotion
Worksheet A
Answers:
GENERIC ADVERTISING
Advertising for a whole sector, such as tourism, rather than for a specific product
BELOW- THE- LINE PROMOTION
All forms of advertising except mass media advertising
AIDA
Promotion strategy based on getting the customer’s attention and interest, then desire for the product, then
action / buying the product
CUSTOMER ORIENTED SELLING
A selling style based on identifying and meeting the customer’s needs
ABOVE -THE -LINE PROMOTION
Mass media advertising
PUSH STRATEGY
A method of sales which uses pressure on distributors
HARD SELL APPROACH
A sales-oriented selling style, using high pressure and persuasion, discounts and free services
IN-STORE PROMOTION
Advertising at the point of sale
ON-LINE PROMOTION
Advertising on the Internet
3
8
5
6
9
1
7
2
4
A) GENERIC ADVERTISING
B) BELOW- THE-LINE PROMOTION
C) AIDA
D) CUSTOMER ORIENTED SELLING
E) ABOVE-THE-LINE PROMOTION
F) PUSH STRATEGY
G) HARD SELL APPROACH
H) IN-STORE PROMOTION
I) ON-LINE PROMOTION
6 Ask students to work in groups of three or four in store promotion could be seen with any type of a
product. What types of products sell the best with the individual promotion strategies? Students should
come up with one example for some of the listed strategies. (Ex. On-line promotion would not work well in
the car industry but is very effective with clothing or perfume merchandise, Hard sell approach is not very
good for food products but is practiced in public services of many types like phone companies, electronics,
Customer oriented selling is practiced in banking services and tourism industry. In store promotion in store
promotion could be seen with any type of a product.)
Read the question for a discussion:
In relation to your work and specialization, what types of media do you deal with the most?
7 Ask the students to give examples from their studio work and how their art project work can utilize any of
the strategies mentioned above. (graphic arts, advertising photography and audio vision specialists should
be separated to give incentives to mixed groups).
8 Distribute Worksheets B. At this moment the scene has been set up to go into detail with specific
forms of media. First, ask students to skim the text in the table and match the individual media with the
characteristics in the table.
Worksheet B, Media descriptions
Attach the right media to the descriptions below. Can you think of any more advantages or disadvantages
of the given media in relation to your type of work?
Suggested answers:
Yellow pages on the Internet, Television, Newspapers, Radio, Magazines
Description of the different types of media with the advantages and disadvantages:
Newspapers ........... one of the traditional media used by businesses, both big and
small alike.
Advantages
Disadvantages
• Allows you to reach a huge number of people in a
given geographic area
• Exposure to your ad is not limited; readers can go
back to your message again and again if so desired
• The ad you decide to run today can be in your customers’
hands in one to two days
• Your ad has to compete against the clutter of other
advertisers
• Poor photo reproduction limits creativity
• Expect your ad to have a short shelf life, they are
usually read once and then discarded
• You may be paying to send your message to a lot of
people who will probably never be in the market to
buy from you
Magazines .......... are a more focused, but more expensive, alternative to newspaper
advertising.
Advantages
Disadvantages
• Allows for better targeting of specific audience
• More attention will be paid to your advertisement
• Better quality paper permits better colour reproduction
and full-colour ads
• The smaller page permits even small ads to stand out
• Long lead times mean that you have to make plans
weeks or months in advance
• The slower lead time heightens the risk of your ad
getting overtaken by events
• Space and ad layout costs are higher
There are several forms that you can use to promote and advertise. Supplied by phone
companies, you can also check out specialized directories, interactive or consumer
search databases, Internet directories containing national, local and regional listings;
and other services classified as ............ Yellow pages on the Internet .......
Advantages
Disadvantages
• Wide availability
• Non-intrusive
• Action-oriented, as the audience is actually looking
for the ads
• Ads are reasonably inexpensive
• Pages can look cluttered
• Your ad is placed together with all your competitors
• Limited creativity in the ads, given the need to follow
a pre-determined format
Radio ............ offers a wide range of publicity possibilities. It is a mobile medium
suited to busy people.
Advantages
Disadvantages
• Is a universal medium enjoyed by people at one time
or another during the day, at home, at work, and even
in the car.
• Gives your business personality through the creation
of campaigns using sounds and voices
• Free creative help is often available
• Rates can generally be negotiated
• You may have to advertise simultaneously on several
stations to reach your target audience
• Listeners cannot go back to your ads to go over
important points
• It is a background medium. Most listeners are doing
something else while listening, which means that your
ad has to work hard to get their attention.
A medium that permits the use of the printed world, spoken word, pictures in motion,
colour, music, animation and sound effects all blend into one message, possesses
immeasurable potency ............ Television
Advantages
Disadvantages
• Permits you to reach large numbers of people on a
national or regional level in a short period of time
• Independent stations and cable offer new opportunities
to pinpoint local audiences
• Message is temporary
• Preferred ad times are often sold out far in advance
• Limited length of exposure, as most ads are only thirty
seconds long or less, which limits the amount of
information you can communicate
• Relatively expensive in terms of creative, production
and airtime costs
Ask students again: Can you think of any more advantages or disadvantages of the given media in relation
to your type of work?
If you have time, give each pair of students cut up pieces of the tables. Let them match positives and
negatives for all the media before you actually distribute the worksheet and reveal the right answers.
9 Distribute Worksheet C. Ask students to work in groups of three or four. Tell them to make a list of forms
of advertising they can see in the street or around their school. (posters, flyers, leaflets, banners, hoardings..
can be mentioned) What English vocabulary related to this topic can they come up with at this point?
Types of promotion and advertising: (Match with the pictures)
10
2
9
5
1
8
4
7
6
3
a) Banner ad
b) Billboard/Hoarding
c) Flyer
d) Free sample/ Freebie/ Sample
e) Newspaper/magazine advert
f) Sandwich board
g) Sponsorship
h) TV commercial
i) T-shirt advert
j) Classified ad
10 Before giving the students time to get into the points listed here as a Discussion, make sure they work
in new groups. Students specializations should be as divert in each group as possible. Each group should
share experience from studio work or work on real commissions and then prepare a short report for the
whole class.
Have you designed any of the listed forms of advertising as your school studio work or as a commission?
Have you ever worked on a commission to design any promotional material?
Which types of media do you see to stand up the most in future? Prepare good arguments to support
your view.
11 The final reporting could lead to a discussion about the Internet as one of the future preferred media
types. If time permits, let students listen to this short conversation between two friends. Allow some time
to read the questions in Worksheet C and see if any of them can be answered before you even play the
recording. Question No. 2 for example should be clear. Some students should be familiar with building
websites and may have experience with some building programs.
Listening 2
You will hear two friends discussing ideas about building a website. Listen and answer the questions below.
Building a website
http://www.elllo.org/english/0751/T768-Mark-Website.htm
1 What program to build websites was named? Do you know any other types? (Dreamweaver)
2 If you don’t want to pay for your website, what will they put on your pages? (banner ad)
3 What is the proper word to refer to the speed of your internet connection?
data bandwidth, a rate measure for available data)
4 What is the difference between a hit and a unique viewer? (a hit can be automated by a computer
when pulling up a picture or a text, a unique viewer is a real visitor to your website)
5 How do you call the frequency of page visits, how many times a page or different pages are pulled up?
(page impressions)
Follow-Up
Students who work in audio vision, graphic art studios and advertising photography should share some of
their work with the class. Ask them to bring their work to class and report on the type of media their work
was designed for.
Sources
http://www.elllo.org/english/0751/T768-Mark-Website.htm
http://wiki.answers.com/Q/What_are_the_different_types_of_media
http://www.elllo.org/english/0951/T959-Mel-Ads.htm
http://www.buzzle.com/articles/pros-and-cons-of-mass-media.html
8 So, what is it you do?
SAMPLE TOPIC
Glass Design.
TIME
90 min
AIMS
Talking about one’s work.
Listening practice in authentic situations.
MATERIALS
Photocopies of student’s worksheets. Photocopies of cards – one set per group.
TRANSFER
Activity can be transferred to any specialism, only choose the speaker/artist relevant to your field of interest.
PREPARATION
Choose online an interview with Dale Chihuly – there are plenty of them on his own website or on youtube.
The one used here is an interview recorded by Plum TV and can be found on http://www.plumtv.com/videos/
sunvalley-dale-chihuly-sun-valley , but you are free to choose the one you like most.
Prepare sets of cards (one set per group) with expressions chosen from the interview.
PROCEDURE
1 Write on the board:
“If your work consists of two very obviously different parts, and everybody sees that, but you don’t see it,
and you can’t even talk about what your work is, then, all mystery and all things organic aside, you’re in
deep trouble as an artist. You really are.”
Discuss the quotation. Why does an artist need to be able to talk about one’s work?
2 Ask students about the circumstances in which they are usually expected to talk about one‘s work. When
did they last do it and what did they talk about? Did they mention their education, experience, current
projects? Did they find it challenging? Why yes/no?
3 Sometimes, artists need to prepare/write an artist’s statement. What is it?
Answer: An artist’s statement is a short document written by the artist which provides a window into the
artist’s world. It offers insight into a single piece or an entire body of work and by describing the artist’s
creative process, philosophy, vision, and passion. It enlightens and engages while at the same time giving the
audience - potential buyers, exhibition curators, critics, fellow artists, or casual browsers - the freedom to
draw their own conclusions. An artist’s statement reads easily, is informative, and adds to the understanding
of the artist.
Why is it necessary to have it?
Answer: People buy you as well as your art.
Ask students to think about reasons/occasions when they might need to use it. Tell them to go to Worksheet
A and fill in the missing words. After you check the correct answers, discuss your students’ personal
experience. Have they ever written it? What for?
More information at:
http://makingamark.blogspot.com/2009/02/marketing-art-how-to-write-artists.html
http://makingamark.blogspot.com/p/resources-for-artists.html
Answer: Worksheet A
Approaching a ...
... Gallery
Artwork in an ...
... Exhibition
Exhibition ...
... Catalogue
Exhibition ...
... Proposal
Curator ...
Entry Form for a Juried ...
... Proposal
... Competition
Grant ...
... Proposal
Press ...
... Release
Promotional ...
... Brochure
Public Speaking ...
... Opportunities
Talking to ... at a Private View
... Clients
Sales ... by an Agent
... Presentation
Your Artist’s ...
.. Blog
Your Verbal ...
... Introduction
4 Ask students to think briefly about some sentence structures/vocabulary/collocations they would definitely
use when introducing / talking about their work.
Examples:
Verbs: apply for / do / get / have / hold / take a job
Adjectives: demanding / exacting / difficult / casual / well-paid / congenial / prestigious / satisfying job
Go to Worksheet B, Listening and Speaking. Tell students about the artist and the interview they are about
to listen to (if you have chosen a different interview than the one suggested above, you need to modify the
following activities accordingly). Chihuly is a renowned glass artist describing here how his career took off.
What do students expect to hear? Let them predict the vocabulary. Go to Worksheet B/Activity 1 and ask
students to match collocations.
Answer: 1/D 2/A 3/H 4/B 5/G 6/C 7/I 8/J 9/E 10/F
6 Go to Worksheet B, Speaking. Listen to the interview. Ask your students to listen for the details of
Chihuly’s career and answer the questions. You may add more questions or ask students for more details if
they are at advanced level.
7 Listen again and fill in the missing expressions in the text in Worksheet C/Listening.
Answers:
1 artist, 2 studios, 3 projects, 4 craftsmen, 5 excited, 6 melted, 7 oven, 8 blew, 9. team, 10 glass blowing,
11 vision, 12 manage, 13 head, 14 piece, 15 shop, 16 objects, 17 installations, 18 residence
8 Choose a few expressions from this lesson you find particularly useful for the students. Write them on
a set of cards. You should have one set of cards for a group of three. Students work in groups. They take
cards in turns and use the expression to make a meaningful sentence about their own specialization /work
life. One set of cards is given here but it is not a part of SW, so you need to photocopy it if you wish to use
them in class.
VariationS
You can adapt to advanced level or by choosing more difficult collocations in step 8.
Follow-Up
Ask your students to write a few sentences on their work. Then collect and distribute in the class.
Each student has to find the writer of the paragraph he received by asking suitable questions.
TN SUPPORTING MATERIAL
to take a course
to get very excited about the project
to melt some glass to blow a bubble
to offer a position
to start up a programme
to be the head on the team
to manage the team
to make sketches on the paper
to be inspired directly by something
to figure out something
to approach a gallery
to work on an exhibition catalogue
to talk to clients
to introduce your work
9 What’s in a shape?
SAMPLE TOPIC
Logos – Graphic Design.
TIME
90 min
AIMS
Vocabulary development: Practise vocabulary concerning shapes and forms.
Transfer
Activity can be used by any art specialism.
MATERIALS
PREPARATION
The following websites may help you get ready for the lesson.
http://www.tutorvista.com/math/geometric-shapes-and-forms
http://www.graphicdesignblog.org/hidden-logos-in-graphic-designing/
http://www.graphicdesignblog.org/follow-logo-trends-2009/
PROCEDURE
1 Tell students that this lesson is about the meaning and importance of shapes in design. Do not develop the
idea any further as you will have plenty of time to do so in the second stage of the lesson. Distribute Worksheet A
and ask students to think of names of the shapes featured. Students may work in groups of three.
Aswers:
circle/sphere (koule, globus), cube, crescent, triangle, square, parallelogram (rovnoběžník), rhombus
(kosočtverec), pyramid (jehlan), cuboid/block/prism, cylinder (válec), cone (kužel), octagon, pentagon
(pětiúhelník), oval, trapezoid (různoběžník, lichoběžník)
Tell students that there is a tetragon, pentagon, hexagon, heptagon, nonagon, decagon ... etc. – you only
change the prefix of the word. (hendecagon – jedenáctiúhelník, dodecagon – dvanáctiúhelník)
The two-dimensional shapes are: Circle, Triangle, Square, Rectangle, Parallelogram, Trapezoid, Rhombus,
Octagon, Pentagon, Hexagon
The three-dimensional forms are: Cube, Cylinder, Cone, Prism, Pyramid
Note:
Shapes are flat. When artists talk about form, they are referring to three-dimensional shapes or objects.
If you can see several sides of the object, then artists call these forms, and they are also called
three-dimensional shapes.
2 Discuss the importance of shapes. Why and how are shapes used in design? Talk briefly about ideas/
feelings/emotions they provoke.
Note:
Some geometric shapes have specific meanings, some culturally-based. An octagon, especially a red one,
usually means stop. A starburst is commonly used to grab attention and identify something that is new,
improved, or ‘on sale.’
Some ways that you might use shapes in your design are to: organize, connect, separate, symbolize an
idea, create movement, provide texture or depth, convey a mood or emotion, provide emphasis, provide a
framework.
3 Proceed to Worksheet A, Reading. Students read the statements and decide which shape the statement
relates to.
Answers:
1 triangle, 2 circle, 3 triangle, 4 triangle, 5 square or rectangle
4 Start by asking the question on Worksheet B, Reading. In the next part, you are to discuss the use of
shapes in logo design more in detail. Start by asking the question at the top of Worksheet B, Reading.
Question:
Can you remember a logo which contained some geometic shape? What did the logo promote? Did the
shape help to convey the message?
Proceed to the text. Students read it individually and answer the questions. Do they agree? Can they add
some examples from everyday life?
5 Worksheet B, Speaking. Students work in pairs and discuss the choice of shapes, how they are used, and
what emotions, feelings, or ideas they convey. This is supposed to be a brainstorming discussion so let the
ideas flow freely, you may get a variety of opinions.
Suggested answers:
Dreamz – crescent. It evokes the idea of night, sleep. Lacy and delicate swirls are the new additions to make
a logo look fancier. The geometric pattern of the logo covered with embellishments express the message
with subtle fragility – so maybe it touches upon the fragility of dreams here?
Spark business – circle and triangles. Circle suggests something well-rounded or complete (maybe solutions they offer?), triangle suggests action and dynamism (solutions quickly delivered?)
Aci research – sphere represents the globe here. So it may touch on the fact that the reseach is carried out
all over the world or that it is valid worldwide. An excellent logo emerges when text and icon are packed up
in a strong way like in this example.
6 Continue with pictures in Worksheet C, Reading. You can only choose some logos or do all of them or give
each student one and let him/her think it over. Look at the logos and discuss what companies/services they
advertise. Is there something unusual or exceptionally witty in the logos? After few minutes, follow with the
text. Match the text with logos. Students comment on their predictions. Were they correct?
A3
F4
B7
G2
C1
D6
E9
H 10
I5
J8
10 Process of film making
SAMPLE TOPIC
Process of making an animated film.
TIME
90 min
AIMS
Language: to develop vocabulary for talking about a film making process and professions involved.
Other: telling stories and plots.
MATERIALS
PREPARATION
If you wish, you may watch an interview with James Cameron on the process of making Avatar film.
For example http://www.youtube.com/watch?v=BUl5XF2Na5w
PROCEDURE
To warm up, ask students what film they have seen recently. Can they sort it out according to its genre?
1 Let students choose one of the film genres listed below and tell them to think of more example films from
either Czech or world film production that would represent the chosen genre. Ask them to give a short plot
description of one film in groups of 3 or 4 students and let them guess the film title.
READING
Major film genres in brief:
Action Films
This genre includes films that have continuous high energy, lots of physical activity, chase scenes, races,
rescues, battles, martial arts, destructive disasters like floods, explosions or fires. There are usually fights,
escapes, non-stop motion and spectacular rhythm with adventurous heroes. Example film: James
Bond film series (the last, 22nd one released: Quantum of Solace, Forster, 2008)
Adventure Films
These are exciting stories with new experiences or exotic locations. In comparison to action films, there
is less violence and fighting. The viewer of adventure films can live through the travels and explorations,
creation of empires, struggles and situations that confront the main characters, actual historical figures or
protagonists. Example film: The Adventures of Robin Hood (Curtiz, 1938)
Bibliographical/Documentary
These films use a story that retells events rather than creating them. Usually, it is about true historic events.
They document some aspect of reality, primarily for the purposes of instruction or maintaining a historical
record. Example first official documentary film: Nanook of the North (Flaherty, 1922). On historical events:
Fahrenheit 9/11 (Moore, 2004) Bibliographical: Madona: Truth or Dare (Keshishian, 1991)
Comedy Films
These are light-hearted dramas, crafted to entertain and provoke enjoyment. The comedy genre humorously
exaggerates the situation, the language, action, and characters. Comedies observe the frustrations of life,
providing a momentary escape from day-to-day life. They usually have happy endings, although the humour
may have a serious or pessimistic side. Example film: Some Like It Hot (Wilder, 1959)
Crime and Gangster Films
They are developed around the sinister actions of criminals or gangsters, particularly bank robbers, underworld
figures who operate outside the law, stealing and violently murdering their way through life. Example film:
The Godfather (Ford Coppola, 1972)
Drama Films
They are serious presentations or stories with life situations that portray realistic characters in conflict with
either themselves, others, or forces of nature. A dramatic film shows us human beings at their best, their
worst, and everything in-between. Dramatic films are probably the largest film genre because they include
a broad spectrum of films like crime films, melodramas, epics (historical dramas), biopics (biographical), or
romantic genres – to name just some that have developed from the dramatic genre. Example history drama
film: Gone With the Wind (Fleming, 1939)
Horror Films
They are designed to frighten and panic and to bring up our hidden worst fears, often in a terrifying, shocking
finale. The main focus is on the dark side of life, the forbidden, strange and alarming events. They deal with
our nightmares, our terror of the unknown, our fear of death and loss of identity, or fear of sexuality. They
are also called Thriller or Suspense films. Example film: The Birds (Hitchcock, 1963)
Musicals / Dance Films
They emphasize and show full-scale song and dance routines in a significant way, usually with a musical
or dance performance. Mostly they are centred on combinations of music, dance, song and choreography.
Songs with lyrics that support the story line are carefully chosen. For example to talk about a search for love,
success, wealth, and popularity. Example film: My Fair Lady (Cukor, 1964)
Romantic Films / Romance
The central plot of these films resolves around the romantic love and the emotions of the story’s protagonists.
Lovers can face problems such as finance, illness, racial or social class discrimination which makes their
relationship difficult. Not all romantic films have happy endings. Example film: Brokeback Mountain (Ang
Lee, 2005)
Science Fiction Films
These are usually scientific, visionary, and imaginative. Film makers use advanced technology gadgets like
robots and spaceships and show scientific developments. Sci-fi films are complete with fictions heroes,
distant planets, impossible quests, improbable settings, fantastic places, futuristic technology. Many of them
feature time travels or fantastic journeys and can be called Fantasy films. Example film: The Terminator
(Cameron, 1984)
Westerns
They are one of the oldest, most enduring and flexible genres and one of the most characteristically American
genres. Their most prolific era was in the 1930’s to the 1960’s. In late 60’s so called spaghetti westerns were
done in American and Italian coproduction. Example film: The Good, the Bad and the Ugly (Sergio Leone,
1966)
Some Film Sub-Genres include: Historical, Mystery, Road Films, Sports Films, Serial Films.
DISCUSSION
2 Move on to Worksheet B/1. This activity follows a process of making an animated film. The instructions ask
you to study the ”Pipe Line” or a flow chart to understand the whole process in detail. Suggested answers on
the involvement of the professions are provided in brackets within the flow chart here but not in SW B1. These
are general allocations and may differ with the individual film types and size of the film making team.
Worksheet B/1
Task 1:
Discuss the chart which represents the sequence of the whole film making process. This one specifically
refers to an animated film production but many stages apply in general to any film making process. Can
you name roles and job titles involved in each stage? See the clue below the chart. Note: Some jobs never
leave the whole process of film making. Like a film director.
1 Development
1.1 Theme and story identification - Ideas and designs are generated
(Producer) (Director)
2 Pre-Production Basics
2.1 Further development of Ideas and Concepts, Budget and Schedule Pitch
- Script (Director) (Assistant Director) (Screenwriter)
- Voice Record (Sound Designer/Editor)
- Storyboard (Screenwriter) (Storyboard artist)
- Animatic (Animators) (Storyboard Artist)
3 Production co-ordination
3.1 Design
- Character Design 3D Modelling
(Actors) (Director) (Casting Director) (Costume Designer) (Producer)
- Backgrounds, Sets (Assistant Director) (Director of Photography)
3.2 Layout and Scene Planning (Location Manager) (Screenwriter)
- Animation (Animators)
- Light and Texture Rendering (Director of Photography)
- Visual Effects Composing (Film Editor) (Director)
3.3 Filming (Cameraman)
4 Post-Production
4.1 Editing (Assistan Director) (Screenwriter) (Film Editor) (Director)
- Sound Design (Composer) (Director of Audiography) (Sound Designer/Dditor)
- Final Edit and Mix (Director) (Assistan Director) (Director Of Photography) (Film Editor)
(Production Sound Mixer)
- Dubbing and Subtitling (Production Sound Mixer) (Director)
- Delivery (Film Distributor) (Director)
5 Sales and Distribution
(Film Distributor)
Clue: Actors, Animators, Assistant Director, Cameraman, Casting Director, Composer, Costume Designer,
Director, Director of Photography, Distributor, Editor, Location Manager, Producer, Production Designer,
Screenwriter, Sound Director, Storyboard Artist
DISCUSSION AND READING
3 Students should be now able to match job descriptions from Worksheet B/2 with the flow chart in
Worksheet B/1. Those are in the correct order below.
Worksheet B/2
Task 2:
Match the description taken from general film making stages with the Pipe Line shown in worksheet B/1:
1 “Producer finds a story or an original idea.”
2 “The script is written and drafted into a blueprint for a film.”
3 “Preparations are made for the shooting: Casting is done and crew is hired.”
4 “The producer ensures members of the whole team are on target. She or he works closely with the director.”
5 “The raw elements or sections of the film are filmed and recorded.”
6 “The film is edited. Dialogues are edited.”
7 “Music is composed, performed and recorded.”
8 “Visual and sound effects are recorded.”
9 “Computer graphics effects are digitally added.”
10 “All sound elements are mixed into stems and those are then married to picture.”
11 “Editors and Sound Designers work together with the Director to complete the film and prepare it for
the delivery.”
12 “The film is offered to potential buyers/distributors.”
READING AND LISTENING
4 Get ready to follow the topic with a Case study on Avatar. Additional information on the film is provided
at the end of this TN text. Follow the instructions below and after the reading practice play the short You
Tube video: Avatar: Motion Capture Mirrors Emotions.
5 http://www.youtube.com/watch?v=1wK1Ixr-UmM&feature=BF&playnext=1&list=QL
Worksheet C
AVATAR – A TECHNICAL BREAKTHROUGH IN 3D ANIMATION
Before watching: Read the text and complete the gaps with the provided words. Then watch a short spot
on the same topic
Development, equipment, available, device, screen, researchers, attached
To be able to make a film which would fully meet James Cameron’s vision on the story of Avatar, he had to
wait for almost 15 years before the right technology was available.
The cost of the film reached 300 million dollars due to the fact a lot of technical equipment was made
specifically for the Avatar movie.
Back in the year 2000 team of researchers started to put 3D cameras together with a beam splitter and
two lenses.
The main idea was to combine 3D computer animated features with a full actor’s performance capture.
These two unrelated features were combined thanks to a development of a fusion camera system.
A fully interactive HD camera is connected to a head rake, kind of a helmet with a tiny camera attached to
it on a rod, which is fitted tightly and smoothly to the actor’s head.
This device enables to scan the actor’s facial performance. Both images, a computerised one and a life shot
are placed next to each other on the camera screen. The cameraman is able to compare both results in real
timing.
DISCUSSION
6 The activity below does not simulate role play of the main characters from the film but the actors jobs
and involvement in the process of film making.
After watching: Imagine you are Zoe Saldana (Neytiri) or Sam Worthington (Sully,) the actors starring the
main film character. Prepare a short report on how your acting went on.
What did you have to learn to give the best performance of your film character?
What did you have to wear during filming?
How did you cooperate with other film making staff?
How did you feel when learning the script?
Let students work individually, then in pairs.
Follow-Up
If you wish, you may choose another of the newly released computer animated films to compare the
technologies used there with those from Avatar.
Comments
Comments and further resources.
http://www.hiroadproductions.com/
http://6sys.com/springboard?google
http://www.mediaguru.cz/medialni-slovnik/a/animatic.html
http://www.youtube.com/watch?v=xq_nRfoBSm0
http://www.youtube.com/watch?v=1wK1Ixr-UmM&feature=BF&playnext=1&list=QL
Less known vocabulary
Animatic – krátký audiovizuální materiál, který vzniká před samotnou produkcí TV spotu či animovaného filmu.
Používá se k testování samotného kreativního konceptu, který byl před tím předložen ve formě storyboardu.
Head and neck rake – profesní termín, používaný v zápasení. Toto slovní spojení bylo přejato pro označení
kamerového systému, který je připevněn na hlavu herce.
Storyboard – připomíná vizuální komiks. Jedná se o sadu rámečků s obrázky. Ty mohou mít podobu hrubých
skic, barevných obrázků nebo fotografií.
HD camera – High Definition camera.
Motion – caption: využití zvláštních efektů, v níž jsou hercovy pohyby převedeny na model v počítačové
grafice. Cameron poprvé používá zvláštní kameru, která umožňuje sledovat výsledný efekt v reálném čase.
Stems – Nahrávací stopy.
Some film crew positions can vary in English speaking countries and the Czech Republic. Each filming team
may be composed of members who are specifically suiting the purpose and needs of the film being made.
Here are some general work positions that can be found in British or American feature film teams:
Actor – herec
Animator – animátor (u animovaného filmu)
Assistant Director – asistent režie
Best boy – asistent osvětlovače nebo asistent pro všechno
Casting Director – obsazení rolí
Cameraman – kameraman
Clapperboard, clapper, clapboard – klapka
Composer – skladatel
Costume Designer – kostýmní výtvarník, návrhář kostýmů
Director – režisér
Director of Photography – hlavní kameraman
Distributor – distributor
Editor – střihač
Extra – komparzista, extras - komparz
Foley artist, n. – zvláštní zvukové efekty, editor zvláštních zvukových efektů. Toto pojmenování vzniklo podle
Jacka Foleyho, prvního umělce, který vytvářel náhodné zvukové efekty v synchronizaci s filmovým obrazem.
Gaffer, lighting electrician – vrchní osvětlovač
Grip – asistent kamery
Location manager – architekt, vedoucí výroby
Make-up artist – vizážista
Producer – producent
Production Designer – produkční, vedoucí výroby
Propman, property man – rekvizitář
Scenographer, n. – scénograf, v týmu pod vedoucím výroby
Screenwriter – scénárista
Script supervisor – skriptka
Sound Director, Recording Director – mistr zvuku
Sound Mixer, Sound Editor – zvukař
Steadicamist – zařízení pro stabilní nošení kamery při natáčení z ruky
Storyboard Artist – výtvarník kresleného scénáře
Filmový štáb – český hraný film
předprodukce
producent, scenárista, režisér, herec, kaskadér, komparzista, architekt, skriptka
produkce
produkční, filmový designér, výtvarník kostýmů, maskér, rekvizitář, inspicient, kostymér
dílčí štáb kameramana
kameraman, steadicamista, best boy, vedoucí sekce kamerové techniky, první asistent kamery, druhý asistent
kamery, gaffer, grip
dílčí štáb mistra zvuku
mistr zvuku, zvukový designér, režisér ozvučení, zvukař, operátor hlasitosti, hudební skladatel, dabér
postprodukce
střihač, animátor, grafický designér, editor zvláštních efektů
další zpracování
filmová distribuce, filmový kritik
Further information on Avatar (Wikipedia)
Avatar is a 2009 American epic science fiction film written and directed by James Cameron, and starring
Sam Worthington, Zoe Saldana, Stephen Lang, Michelle Rodriguez, Joel David Moore, Giovanni Ribisi and
Sigourney Weaver. The film is set in 2154, when humans are mining a precious mineral called unobtanium on
Pandora, a lush moon of a gas giant in the Alpha Centauri star system. The expansion of the mining colony
threatens the continued existence of a local tribe of Na’vi—a humanoid species indigenous to Pandora. The
film’s title refers to the genetically engineered Na’vi-human hybrid bodies used by a team of researchers to
interact with the natives of Pandora.
Development on Avatar began in 1994, when Cameron wrote an 80-page script for the film. Filming was
supposed to take place after the completion of Cameron’s 1997 film Titanic, for a planned release in 1999,
but according to Cameron, the necessary technology was not yet available to achieve his vision of the film.
Work on the language for the film’s extraterrestrial beings began in summer 2005, and Cameron began
developing the screenplay and fictional universe in early 2006. Avatar was officially budgeted at $237
million. Other estimates put the cost between $280 million and $310 million for production and at $150
million for promotion. The film was released for traditional 2-D viewing, 3-D viewing (using the RealD 3D,
Dolby 3D, XpanD 3D, and IMAX 3D formats), and ”4-D” viewing. The stereoscopic filmmaking was touted as
a breakthrough in cinematic technology.
Avatar premiered in London on December 10, 2009, and was internationally released on December 16 and
in the United States and Canada on December 18, to critical acclaim and commercial success. The film broke
several box office records during its release and became the highest-grossing film of all time in the U.S.
and Canada and also worldwide, surpassing Titanic, which had held the records for the previous 12 years.
It also became the first film to gross more than $2 billion. Avatar was nominated for nine Academy Awards,
including Best Picture and Best Director, and won three, for Best Cinematography, Best Visual Effects, and
Best Art Direction. The film’s home release went on to break opening sales records and became the topselling Blu-ray of all time. Following the film’s success, Cameron signed with 20th Century Fox to produce
two sequels, making Avatar the first of a planned trilogy.
SOURCES
FILMOVÉ ŠTÁBY Pomocné učební texty Organizace audiovizuální výroby, sešit č. 1, Vyšší odborná škola
filmová Zlín, s.r.o.
Wikipedie: Filmová terminologie
www.dictionary.com
http://en.wikipedia.org/wiki/Script_supervisor
http://www.filmsite.org
http://singularityhub.com/2009/08/03/avatar-movie-obsessed-with-making-unreal-real/
http://www.empmuseum.org/index.asp
http://www.hiroadproductions.com/
http://6sys.com/springboard?google
http://www.mediaguru.cz/medialni-slovnik/a/animatic.html
http://www.youtube.com/watch?v=xq_nRfoBSm0
http://www.youtube.com/watch?v=1wK1Ixr-UmM&feature=BF&playnext=1&list=QL
http://www.empmuseum.org/exhibitions/index.asp?articleID=1550
Global English
http://www.macmillanglobal.com/blog/teaching-tips/the-rise-of-english-as-a-global-language-david-crystal
11 In the skin of…
SAMPLE TOPIC
Biographies of acclaimed artists.
TIME
90 min
AIMS
Reading about one’s (professional) life, describing typical features of one’s artistic career.
MATERIALS
TRANSFER
Activity can be transferred to any specialism, only choose the speaker / artist relevant to your field of interest.
PREPARATION
Think about an acclaimed artist you would like to become for one day and why.
PROCEDURE
1 Distribute copies of Worksheet A, Reading. Ask students if they could become an acclaimed artist for a
day, who they would like to be and why. You may start by talking about yourself first. Then tell students that
they are about to become one for at least next half an hour.
Distribute copies of Worksheet A, Reading. Students work in groups of three to five people (choose the
option more convenient for you). Each student reads one biography of a selected artist. Make sure that each
student in a group reads a different biography. (Ask them NOT to read the others!)
2 Students work in a group of three to five. Each student is a world renowned artist – do not tell them which
professions are included (fashion designer, photographer, graphic designer, industrial designer, director).
Students try to guess other professions by asking questions concerning the artist’s career. However, questions
like “What do you do” or “what is your job” are not allowed.
11 In the skin of...
Example:
Q. What kind of materials do you work most often with? Where do you usually work? Do you paint? Do you
sew? Do you have your own studio or do you work for a company? Do you use materials like glass and steel
in you profession? Are your designs handmade? Do you need any special tools in your job? etc.
3 Follow with Woksheet A, Speaking. Now students work in pairs. Each chooses a picture related to the
person they read about and explain their partner the link.
Example:
A picture of a figure skater - fashion designer Vera Wang first received international attention in 1994 when
she designed a hand-beaded ensemble for figure skater Nancy Kerrigan. Wang used to be a talented figure
skater herself.
Answers:
a) Vera Wang, fashion designer, designed an ensemble for an American figure skater Kerrigan and received
international attention.
b) David Carson, graphic designer, designed the worldwide branding campaign for Microsoft in 1998.
c) Joe McNally, photographer, his most well known series is the “Faces of Ground Zero – Portraits of the
Heroes of September 11th”, a collection of 246 Giant Polaroid portraits shot in the studio near Ground Zero
in a three-week period shortly after 9/11.
d) Jane Campion, director, Campion’s first international film, The Piano, immediately brought her wider
acclaim, together with a best screenplay Oscar. An unusual erotic drama with some striking visual moments,
the film took Campion back to her native New Zealand and also won an Oscar for its star, Aerican Holly
Hunter, as a strong-willed but mute Scottish widow who travels across the world in the 19th century to fulfill
what turns out to be a loveless arranged marriage to a local landowner. New Zealand-born Anna Paquin also
won an Oscar as Hunter’s daughter.
e) Tord Boontje, industrial designer, has adapted collection of lights he made in a batch edition in 2001
into a less expensive, mass-manufactured light to be sold in Habitat.Tord Boontje has sought to imbue his
products with a magic and romance that transcends their function.
4 Worksheet B, Word Power. This is selected vocabulary from all five biographies/areas. Students work
individually and match the words with the correct category/heading (fashion, film, photography, industrial
design, graphic design, general).
Answers:
Fashion: accessories, selection of bridal wear, a signature collection, collection of couture designs, apparel,
to tailor a gown,
Film: central character, erotic drama, to make award-winning shorts, a heroine, to marry design and emotion
Graphic Design: print, typography, visually stunning, to communicate in a variety of mediums, to design a
special issue
Photography: photojournalism, series of black and white photos, to shoot for a magazine, portraits,
nude series
Industrial design: artisan techniques, highly detailed, a batch edition, mass-manufactured light
General: commercial assignment, acclaimed artist, complex assignment, cues from nature, advanced
technologies, to commission, a notable project, to exhibit worldwide
11 In the skin of...
5 Now students try to use the collocations in practice. Direct them to Worksheet B, Speaking. First they
look at the pictures individually. They prepare a brief, a few sentences long description of each picture. They
have to use the collocations given below each picture.
6 Now students work in pairs. Match them with someone they do not usually work with. One of them starts
to describe one of the four pictures without actually telling his colleague which one it is. The other person
in the pair guesses. Then they switch the roles. Together, they describe two pictures of all four.
7 Discuss which of these artists your students are familiar with and whether they like what they do.
SOURCES
http://www.biography.com
12 Drawing with light
SAMPLE TOPIC
Skills necessary for a career in photography.
TIME
90 min
AIMS
Vocabulary development: skills and qualities of a photographer and specialisations in the field
Language: forming questions
Speaking practice: fluency (board game).
MATERIALS
PROCEDURE
1 Warm-up: Ask the students what “drawing with light” means.
Based on the Greek “photos” (light) and “graphé” (representation by means of lines or drawing), together
meaning “drawing with light”.
Light reflected or emitted from objects form a real image on a light sensitive area (film or plate) or a
FPA pixel array sensor by means of a pin hole or lens in a device known as a camera during a timed
exposure. Broken down to its essential elements, the camera is a box that controls the amount of light
that reaches a piece of light sensitive film or other surface inside.
If there are students interested in the history of photography, you may want to share:
Photography timeline
http://inventors.about.com/od/pstartinventions/a/Photography.htm
Write on the whiteboard: A photographer should: and The work involves: leaving some space for students’
answers.
Explain that the following lesson is about various aspects of a photographer’s job and ask them the questions
below. Students work in pairs or groups and write their answers on the whiteboard.
Pre-teach (or elicit from the students depending on their level): eyesight, a brief, aperture, aptitude, lenses,
shutter speed, with a good eye for, skills.
What skills and personal qualities should a photographer have?
Suggested answers:
A photographer should:
- have good eyesight
- be creative, with a good eye for colour, shape, pattern, form and tone
- be reliable and able to meet deadlines
- be motivated and self-confident
- have technical aptitude, including computer skills
- have excellent communication and interpersonal skills
- be able to understand and interpret the client’s needs
- have the patience to get the right shot even under pressure
- have business and organisational skills
- understand health and safety requirements
- it is important to be interested in: their own specialism - e.g. fashion history and trends, science, etc
developments in photographic technology, techniques and processes
What does the work of a photographer involve?
Suggested answers:
The work involves:
- discussing a project with a client or employer and working to instructions (a brief)
- choosing and preparing locations
- selecting appropriate cameras, lenses and accessories
- setting the aperture and shutter speed
- composing and taking pictures
- managing post production of images and delivering them to the client in the appropriate format
- marketing and running a business (if self-employed)
Continue with Worksheet A. Before distributing it, ask them to decide who will be student A/student B.
Students work in pairs, ask them to fold the worksheet so that they see only their part. They need to find
out the missing information by asking a correct question. Monitor and give feedback at the end as forming
correct questions is very tricky for some students. Student A begins.
Answers:
A What do professional photographers create? permanent visual images
B What do photographers usually specialise in? in one area
A What might they have? some creative freedom
B Who sets the brief? OR Who is the brief set by? the client or employer
A What is usually supplied in digital format? Images
B What might be involved? Working at height
A What do photographers often have to do? Travel
B How much may some photographers earn? over £50,000
You may show your students an example of Editorial Photographer’s work:
Aisha
http://www.time.com/time/video/player/0,32068,294175100001_2007267,00.html
Photographer Jodi Bieber talks about her approach in making the photograph of Aisha, the Afghan woman
on Time’s cover (1:49)
To show what is behind a couple of pictures (only video):
Anatomy of a Photo Shoot
http://www.time.com/time/video/player/0,32068,296748317_1725673,00.html
Scenes from the Penélope Cruz and Pedro Almodóvar photo session.
Photography by Michael Grecco (0:51)
Distribute Worksheet B, Reading. Students work individually/in pairs (doing the whole exercise or just one
half each) matching the specializations with their descriptions.
Answers:
1/A 2/F 3/D 4/G 5/B 6/C 7/E 8/K 9/L 10/I 11/M 12/J 13/H
Continue with the discussion below the reading. Students work in groups or pairs. Monitor and elicit feedback from the whole class.
Worksheet C – Board Game
Students work in groups of three. Distribute the worksheets and dices; ask them to prepare their own
markers/chips. Point out that each player should speak for at least 45 seconds. If a player:
•
cannot answer or
•
gives only a very short answer or
•
cannot form a correct question (the box ”make your own question”)
s/he looses his/her turn and returns to his previous box. First to finish wins the game.
Follow-Up
Is photography over? (SFMOMA symposium)
http://www.sfmoma.org/events/1589
Jeff Wall: Works in focus
http://www.sfmoma.org/multimedia/interactive_features/jeff_wall
Comments
This is the end of the first part of the course. Go to CONSOLIDATION (page 117); section Test yourself I.
SOURCES
http://www.connexions-direct.com/Jobs4u/index.cfm?pid=57&catalogueContentID=510&render=detailedArticle
http://www.skillset.org/photo/careers/photographers/
http://www.time.com
http://www.sfmoma.org/
http://inventors.about.com
Introduction to the course II
TIME
40 min
AIMS
To get back to speaking (studying) English after several weeks’ break.
MATERIALS
PROCEDURE
1 Welcome the students after several weeks’ break (Christmas holiday and exam period) and tell them this
lesson is an introductory one to the second part of their course. Distribute Worksheet A and ask them
to think about the question (Why and how has English become a global language?) and write down their
opinion in the space provided. Then they check with their neighbour.
2 Proceed to the listening part where students listen to professors’ Crystal’ opinion.
http://www.macmillanglobal.com/blog/teaching-tips/the-rise-of-english-as-a-global-language-david-crystal
Tell them to compare the reasons he gives with their notes above. Discuss as the whole class.
Note: http://www.davidcrystal.com/
Answers: the power of the people who speak it; power – political (military), science, (technology, industrial
revolution), economic, cultural
3 Distribute Worksheet B that summarises the organization of the semester, reminding students about
all important details. This is obviously different for teachers outside TBU so please adjust the worksheet
accordingly.
SOURCES
http://www.macmillanglobal.com/
13 Art media and techniques
SAMPLE TOPIC
Jackson Pollock and his way of painting.
TIME
90 min
AIMS
To introduce different painting styles and different surfaces and media students can use for their sketches
or models.
MATERIALS
PREPARATION
Ask students ahead to collect samples of different scrap materials from their studio work. They should bring
small samples to class to share and to name in English. Ask them, if possible, to bring a sample of a hand
drawn sketch of their designs as well.
PROCEDURE
Begin with a short lead into a painting style represented here with a canvas done by Jackson Pollock. Ask
students if they know how this style is called. (dripping) Encourage students to describe the actual process
of painting in Pollock´s style. Let them work in pairs, later they should report to class. Help with any new
vocabulary at this stage.
READING
Students are now ready to read a description of Pollock´s way he actually worked on his paintings. Students
work independently or in pairs, do not provide corrections. Listening to the narrator will be the feedback on
the correct completion of gaps.
About the author: Jackson Pollock (1912-1956) an influential American painter and a major figure in the abstract
expressionist movement. The rhythms in Summertime reflect his belief that “The modern artist ... is working and
expressing an inner world – in other words expressing the energy, the motion, and other inner forces”.
About the painting: Summertime Number 9A (1948) is a great example of Pollock’s infamous technique of
dripping and pouring paint over large canvases placed flat on the ground. The success of this process relied
to a large extent on his use of house paints and other industrial coatings.
Oil, enamel and house paint on canvas (833mm x 5809mm)
Answers: 1 Action; 2 Flicked; 3 Poured; 4 Applied; 5 Turpentine; 6 Diluted; 7 Surface; 8 Thickly;
9 Brittle; 10 Flexible; 11 Priming; 12 Canvas; 13 Dripped; 14 Dried; 15 Bright; 16 Spontaneous;
17 Paint; 18 Planning
NB: The underlined part is part of the original recording, however it is NOT part of the student’s worksheet.
LISTENING TRANSCRIPT
Narrator: Summertime Number 9A is one of Jackson Pollock’s famous ‘action paintings’ - in which he
poured and flicked paint onto a large canvas on the floor. But what kind of paint? Stand anywhere along the
length of this picture and take a closer look - and you’ll see very different materials. Conservation scientist
Tom Learner:
TL: “The black and the silver-grey paints, we know from analysis, are a form of house-paint. They would have
been extremely fluid, poured onto the canvas, probably with sticks or the handles of brushes. And compare
that to the artists’ oil paint - the bright yellows, the two blues, the reds, the greens, the ochres. Probably
taken straight from the tube and applied in a traditional manner with a paintbrush.
The house-paints being used by Pollock here are all oil-based - very similar in fact to the sorts of paints being
used to paint a door-frame. There would have been a lot of organic solvent – probably turpentine – from
within the paint itself and perhaps also Pollock would have also diluted the paint down a bit further – so it
would have been an extremely smelly process!
In many areas, particularly the black and grey paints, you can see wrinkling in the surface. This is a common
phenomenon in house-paints, when they are applied a little bit too thickly, a skin can form on the surface
and as the underlying parts dry so wrinkling forms. You can also see quite clearly differences in the physical
properties - in other words how brittle the paints are. You can see distinct cracks, vertical and horizontal, in the
black and grey areas whereas the artists’ oil paint is still pretty flexible and no cracks are apparent there.
The background of this painting you can see is the canvas - there is no pigmented priming or ground layer
on top of it. Although we have detected a transparent coating, an animal glue, very very thin. If you look
closely at some of the poured areas perhaps in the black paint you’ll see that there are some extremely
narrow bands of colour and without that animal-glue size those thin lines would probably have bleeded out
to a much wider appearance.
Another big difference between the times of paint would be in the drying time. The first part of the painting
would have been the canvas laid flat on the ground. The house-paint was then poured and dripped and then
Pollock after maybe a day or two, once that house-paint had dried, reasonably quickly, would have come
back with these far more calculated, carefully placed areas of bright artists’ colour.
So although this painting appears extremely spontaneous I think the evidence from the different kinds of
paint being used shows there was in fact a huge amount of planning that went into it.
WORD POWER
A list of drawing media presented in the table should be a guide to further discussion on students’daily
routine in designing. Ask them to add any more drawing surfaces they use in their studios. This can lead to
a short discussion on students’ style of drawing.
Authors of the drawings are Rembrandt van Rijn (graphite drawing), Pablo Picasso (pastel on paper ) and
Leonardo da Vinci (pen, ink and white pigment).
Word power 2 is leading students to a review on words describing qualities. Here are some possible answers:
•
Walls/murals – roughly textured
•
Canvas – smooth or textured, treated with gesso or a primer
•
Glass – extremely smooth and glossy
•
Metal – smooth, shiny
•
Paper – water absorbent, can warp, light, smooth or rough
•
Cardboard – water absorbent, heavier than paper
•
Plywood – heavy, smooth, texture imitated
SPEAKING
At this point allow students to share their own personal preferred style of drawing and sketching in small
groups of four or five. Ask if anybody does sketching in computer programmes as well. Media used for each
surface can be a matter of discussion.
Every artist develops his or her own style of drawing or painting. For this purpose they choose techniques
closest to their sought art expression.
3 Discussion on photography techniques
This speaking practise is related to a common students’ procedure of taking photographs of designed work
or taking pictures of stages of a design.
4 Follow the list of printmaking techniques and ask students to prepare answers to questions:
•
Which of those techniques would you find practical to use when working on a packaging design?
•
Which would be good for a catalogue cover?
•
What sounds good as an illustration in your art exhibit invitation?
•
Which techniques are just left for those nutty art printmakers?
5 Materials in printmaking
Cardboard, fabric, glue gesso, acrylic gesso, plaster of Paris, paper glue, epoxy glue, string, sand, found
objects, zink, copper, plexiglass, wire
Do you use any of those materials yourself? Give more examples, if possible. Students should prepare
a short talk on a process of making one of the processes they use in their studios. Make sure there is enough
time to provide space for individual short presentations in class.
GET INTO THE MOOD OF CREATING
Describe one of the processes:
making a plaster mould
making a shoe model
making a clay model
making a paper model of a product packaging
making a maquette of a building or public space
any other process you have learnt in your studio
FOLLOW-UP
The following websites should be helpful for home preparation and further practice on speaking about
design processes.
http://simondrewacar.blogspot.com/2010/06/morgan-22-clay-model.html
http://www.google.cz/imgres?q=maquette&hl=cs&sa=X&biw=1366&bih=639&tbm=isch&prmd=imvns&tbnid=p_cXrp50lzK4HM:&imgrefurl=http://www.choro.nl/maquette.html&docid=V23LtwTR6kpzQM&w=610&h=548&ei=hk-LTqf_LND4sgaJn4GvAg&zoom=1&iact=hc&vpx=785&vpy=198&dur=951&hovh=213&hovw=237&tx=123&ty=119&page=2&tbnh=128&tbnw=156&start=18&ndsp=23&ved=1t:429,r:12,s:18
http://www.google.cz/imgres?q=plaster+model&hl=cs&biw=1366&bih=639&tbs=isz:l&tbm=isch&tbnid=2aoBfSaztUhKLM:&imgrefurl=http://en.wikipedia.org/wiki/File:Lost_Wax-Model_of_apple_in_
plaster.jpg&docid=4bJiDKkPituhaM&w=1516&h=1516&ei=NlCLTqCNEZCMswbD-JG0Ag&zoom=1&iact=hc&vpx=169&vpy=161&dur=112&hovh=225&hovw=225&tx=120&ty=101&page=1&tbnh=121&tbnw=123&start=0&ndsp=21&ved=1t:429,r:0,s:0
http://www.google.cz/imgres?q=maquette&hl=cs&sa=X&biw=1366&bih=639&tbm=isch&prmd=imvns & tbnid=1zkjPJyjr jvHnM:&imgr efur l=ht t p: //w w w.i2.nl/pr oje c ten/maque t te &do cid= 6 c J pdoFtvQK92M&w=800&h=534&ei=qlCLTrS3C8vNswah_72eAg&zoom=1&iact=hc&vpx=592&vpy=350&dur=230&hovh=137&hovw=191&tx=161&ty=205&page=4&tbnh=137&tbnw=191&start=62&ndsp=20&ved=1t:429,r:9,s:62
SOURCES:
http://www.tate.org.uk/learning/learnonline/modernpaints/pollock.htm
http://www.tate.org.uk/servlet/ViewWork?workid=12149
Clay models
http://simondrewacar.blogspot.com/2010/06/morgan-22-clay-model.html
How to make models:
http://www.ehow.com/how_2107533_make-maquette.html
http://www.youtube.com/watch?v=_M8g_acvXO0
On a process of website design and more
www.smashingmagazine.com
14 Interior design and art installations
SAMPLE TOPIC
3 Case Studies, real interior design studios of different size.
TIME
90 min
AIMS
To introduce interior design in general, type of work and commissions.
Vocabulary development: synonyms.
Speaking practice: asking questions, comparing, problem solving.
MATERIALS
PREPARATION
Check if there is a well established Interior design studio in your town. Contact them and find out what local
projects they have worked on. Later in the class ask students to do their own research or if you use Moodle
support for this class place the instructions about it in Moodle.
PROCEDURE
1 Discuss with the students what type of work is done when you redecorate a flat or a house. Ask if someone
has had to do a similar job at home. What skills are needed and what knowledge of a building can proof useful?
Make a list of the skills on the board. Find out if students consider this type of a job competitive or stressful.
2 Distribute Worksheets A and B. Follow with the questions:
A) Who does an interior designer cooperate with?
B) What benefits of a good interior design can you name?
C) Name some skills and knowledge important when designing interiors.
Students look for the answers in the introductory text about the nature of work of an interior designer.
Answers:
A) Designers frequently collaborate with architects, electricians, and building contractors to ensure that
designs are safe and meet construction requirements.
B) Good design can boost office productivity, increase sales, attract a more affluent clientele, provide a more
relaxing hospital stay, or increase a building’s market value.
C) Interior designers must be able to read blueprints, understand building and fire codes, and know how to
make space accessible to people who are disabled.
3 Next, continue with a process of meeting with a customer in Worksheets A. It is like a creative brief in
several stages where the works can be rather complex. This one particularly relates to a museum interactive
exhibit. See illustrative examples in SW B. Ask students to prepare short dialogues which would role-play
situations in each stage of the project. If you are short in time or your class is large, divide them in groups
where only one meeting in one stage is prepared.
For example:
“How much money do we have? What is your budget for the whole exhibit? When do you want to see
the first sketches? What is the main theme of the show? Who will be in charge of transport of the objects
to the museum?”
4 Distribute Worksheets C. Keep the class in the same 3 groups, but let each group read about one Design
Studio. Only SW C, Case study 1 or 2 or 3 with the text will be read in one group. Let students work on the
WORD POWER sections in their groups. Monitor and provide feedback on any difficult words. When finished
each student should prepare a short talk about HIS/HER studio. As if they were to introduce it to a client.
5 Put students into new groups of 3, this time make sure there are all the studios represented within one
student group. They will introduce their studios to each other. Make students describe some of the pictures
to talk about nature of the work the studio does. When finished, give out remaining worksheets so that they
can help each other with vocabulary sections.
6 Worksheets C Case studies present real interior design studios. Here are the website links:
Simon Morris Associates http://www.madesignstudios.com/
West Office http://www.woed.com/
Artcore Studio http://www.artcore.cz/index.php?node=3
7 Go back to Worksheets A with a final task. It is exercise No. 2. Put students in pairs now to provide more
space for talking. If you form new pairs after a time limit, students will get more engaged. It is a creative talk,
with no fixed solution. Students allocate individual jobs to the studios and discuss why one studio would
be better for the task than the other. If you have enough time in the class, let each pair present their final
decisions to others.
8 Homework assignment:
Imagine you work as an interior designer. What type of a commission would you find the most interesting?
And what would be the most challenging for you in it? Write down 3 most important questions you would
have to ask the contractor about this job.
Example: to design an elephant pavilion for a local ZOO
1 How tall are grown up elephants?
2 How much space do elephants need at night when living in nature?
3 What is your concept of the animal exhibition?
Follow-Up
Optional extra activities can involve students’ research on local Interior design studios.
SOURCES:
Simon Morris Associates http://www.madesignstudios.com/, West Office http://www.woed.com/
Artcore Studio http://www.artcore.cz/index.php?node=3
CASE STUDY 1
SIMON MORRIS ASSOCIATES
We are a renowned chain of 3 large design studios with residence in London, Washington and Geneva.
Fields of our specialization include:
• Museum Design Services
We specialize in museum exhibitions, visitor centres.
• Corporate Identity Services
We provide designs of Annual reports, Branding, Logo design, Corporate Identity, Company Brochures,
Marketing Strategy, Stationery, Websites, Web Hosting
• Interior Design
We offer an innovative approach in our design concepts and solutions. We specialize in large hotels and
restaurants.
• Object Mounting Studios
We are professionals in display installations of objects of small or large scale. Our services include model
making, restoration and conservation. We are familiar with a full range of mount-making processes like
pinning small delicate objects or fabricating large structural mounts. Various mediums are used from brass
or steel to acrylic so that to present the objects to their full potential.
During our design work we carry out necessary research into both company and its market place. Some of
our largest commissions were: EBACE – Geneva&Dubai Aviation Convention and Exhibition, British Museum’s
Korean Gallery in London or travelling exhibitions for the Museum of London.
WORD POWER
In the text above, find synonyms for:
ADJECTIVES famous …delicate…, new and creative …innovative…, well informed about …familiar…
VERBS to do …to carry out..., to supply …to provide..., to display …to present….
NOUNS power …potential..., installed objects …mounts…., method …approach…
CASE STUDY 2
WEST OFFICE EXHIBITION DESIGN
A team of young creative designers work from a smaller sized studio in Oakland, California
We are a team of designers, planners, researchers and writers who share a passion for communicating
complex ideas in innovative and accessible ways. Since West Office Exhibition Design was founded in 1985,
we’ve successfully developed a wide range of projects that question visitors’ assumptions about the world,
engage them intellectually, foster their creative spirits and inspire them to have fun.
Our best projects include work for some of the major Art Museums and Discovery Science Museums with
installations that bring out curiosity and creativity in children as well as in adults, for example:
Powerhouse at Science Centre in Sacramento, CA or Henry Ford Museum in Detroit, MI.
Our services include:
• Master Planning – creating a concept
• Project Management – organizing a project on time and on budget
• Content Development – on-site research to bring out the best visitors experience, worked on in
collaboration with curators
• 3D Exhibit Design – model making
• Graphic Design
• Multimedia Design
WORD POWER
ADJECTIVES leading …major…, elaborate …complex…, approachable …accessible…
VERBS to keep busy …to engage…, to encourage …to foster…, to produce …bring out…
NOUNS desire to know …curiosity…, variety …range…, ideas and believes …assumptions…
CASE STUDY 3
ARTCORE STUDIO
Štěpán Kuklík and Maja Rašková opened their design studio in Prague in 2002. Since then they have
succeeded in several prestigious competitions and have grown to a team of five.
Artcore Studio can offer services in the following areas:
Interior design, restaurants, exhibition or display stands, TV shows, film scenes.
Our main concerns are with how different colours, textures, furniture, lighting, and space work together to
meet the needs of a building’s occupants. We pay attention to every detail and like to stay focused on
decorating—choosing a style and colour palette and then selecting appropriate furniture, floor and window
coverings, artwork, and lighting.
We are able to plan interior spaces of almost every type of building, including offices, restaurants, hotels,
schools, hospitals, and private residences. We oversee the construction of the components or make our own
props. We have designed TV show settings as well as film scenes where we liaise with technical specialists
such as lighting staff. When working on film scenes we cooperate with a TV programme producer and their
staff. This type of job usually gets very creative but can make us stressed if we have to meet short deadlines.
Being dependent on each other makes us a strong team with individual responsibility. Our meticulous care
for detail leads to perfection.
WORD POWER
ADJECTIVES suitable …appropriate…, close and very careful …meticulous…, under pressure …stressed…
VERBS to supervise …oversee…, to concentrate …pay attention..., to work together with …cooperate / liaise...
NOUNS inhabitants …occupants…, worries …concerns…, objects used in a film …props...
15 Artist portfolio
SAMPLE TOPIC
Artist portfolios.
TIME
90 min
AIMS
Vocabulary development: words reffering to artist portfolios.
MATERIALS
PROCEDURE
The lesson is divided into two parts – a theoretical one and a practical one. In the first part, students read
an article containing some advice on how to create a portfolio and discuss what might be icluded into one’s
professional portfolio. Do not discuss this into detail as students will have opportunity to do so later.
The second part of the lesson is more hands-on oriented, with commenting on one top-notch portfolio site
and creating one’s own portfolio.
1 Read (show on the screen) following definitions to your students. They all describe one thing.
Can they guess what it is? (portfolio)
- a group of stocks owned by a particular person or company
- a large flat case used especially for carrying pictures, documents etc
- a set of pictures or other pieces of work that an artist, photographer etc has done
- British English - the work that a particular government official is responsible for: the foreign affairs portfolio
Have they ever had to prepare their own portfolio? What was the occasion?
Possible answers:
An artist is expected to present a portfolio. Somewhere in the career, an artist may be asked to report for
an interview, either for a job or an exhibition in a gallery.
The art portfolio serves as one’s marketing tool as an artist. It showcases one’s talent, giving the viewer a peek
at one’s workmanship, personal style, and ingenuity. Hence, putting together an impressive art portfolio may
mean a lot in one’s attempt to present oneself as an artist.
2 Worksheet A. Students read a text on how to put together an art portfolio. They fill the gaps using the
sentences given.
Answers: 1/E 2/A 3/H 4/C 5/B 6/G 7/D 8/F
15 Artist portfolio
Vocabulary:
credentials – diplom, akademická hodnost
collate – sebrat, shromáždit
to give insights – pomoci pochopit, poskytnout náhled na...
an output – umělecká tvorba
credibility – spolehlivost, důvěryhodnost
3 Go to Worksheet A, Speaking. Students look at the pictures and discuss in pairs what they show.
Give them 8 – 10 minutes to do so. Then go through the answers together and write them on the board.
Answers:
a) letter of recommendation, b) a thank you note, c) award certificate, d) art award poster, e) newspaper
clipping (in which an artist is featured), f) a photo of an artist as a child, g) school report card, h) the
photo of a studio, i) an event you participated in, j) samples of one’s work (Rachel Howard featured here)
4 Which of these would your students definitely not include into their portfolio? Why not? Ask them what
they consider as an essential part of one’s portfolio.
Answer:
A general recommendation says that you may show your letters of recommendation, thank you letters,
award certificates, newspaper clippings in which you are featured, photos, one or two pages of previous job
evaluations, events, student committee nominations, samples of your work – anything that highlights your
character, involvement, or skills should be included.
So theoretically, all of the examples shown could be included, but it also depends on the occasion for which
the portfolio is made.
5 Worksheet B, Speaking. Students comment on a top-notch portfolio site of Touch Branding which is a
small company specialising in graphic design and brand identity.
The portfolio here shows the brandings of the company (business details etc.), some of the best works of
the company together with an award the company was granted in 2008. That would not be unusual but
what makes the company stand out is a witty design of their website portfolio resembling a label which is
usually found on bloodbags. The design corresponds well with the slogan the company has: We’ll give our
blood for good branding.
Further info on Touch Branding: http://www.designportal.cz/rozhovory/rozhovor-agentura-touch.html
6 Worksheet B, Speaking. Students think of their own portfolios. They create the first page of it (may
also be a website), detailing the info and materials they would include. Ask students to provide thorough
information on their choices as well as the design they might use (colours, techniques...)
Allow 10 - 15 minutes. Students discuss their individual portfolios in groups of three. Conclude by asking
your students about specifics their portfolio might feature (considering their specialization).
Some further comments you may share: It is recommended to feature about 20 prints. If you only have a few
examples, start with your strongest work. The body of your work presented should be thematically unified
or otherwise cohesive. if you create a portfolio site, you may even share a link to your blog – it gives the
sight more of a personal touch and insight.
SOURCES:
http://emptyeasel.com
http://www.touchbranding.com/
16 Storyboards
SAMPLE TOPIC
Animated film.
TIME
90 min
AIMS
To introduce a variety of storyboards, design boards and art posters.
Vocabulary development: specific terminology for camera work, animated film.
Speaking practice: describing, instructing, asking for detailed instruction.
MATERIALS
PROCEDURE
1 What is a storyboard? Ask students to collect ideas in groups of 3 or 4. Discuss details and different ideas
with the class.
2 Distribute Workscheet A. Exercise 1. Read the short descriptions of different storyboards and look them
up in pictures on the following pages. Some common examples from a variety of art design are presented.
Individual artists and film productions will have different styles and needs. This is just a collection of some
typical styles.
A – COKE - Commercial storyboard, picture, No. 6
B – SPORT WEAR - Design board, No. 3
C – VACUUMS - Commercial storyboard, No. 1
D – THEATRE COSTUMES – Design board, No. 7
E – THIS CHILD – Feature film storyboard, No. 4
F – JEEP – Commercial storyboard for an animatic, a short version of a future TV spot, No.5
G – 101 DALMATIANS – Animated film storyboard, No. 8
H – NIKE – Mood board, No. 2
3 Worksheet A. Exercise 2. Next, continue with student individual work. They should find text which relates
to their art work and underline or write down important words that will help them to talk about their recent
work on a storyboard they had done. It could be a final project from the previous semester that they discuss
or a commission if they have had one.
16 Storyboards
4 Distribute Worksheet B Exercise 1. The animation storyboard is described in here in general. The words
in bold are a part of general knowledge. The goal in this exercise is speaking practice and vocabulary
development. Let students write down their definitions. In fact the text on pages 83 and 84 contains most
of the words as well. Let students skim the texts again. Then a guessing game can be played. A student reads
his or her definition, others have to call out the defined term.
Worksheet B Exercise 2. Let students work in pairs. They will sort out the terms. This vocabulary is specific. Decide
how much time you want to spend on this, probably depending how many students from animation studio there
are in the class. If you have some, for HW ask them to look up more animation film methods or shot compositions.
Forms or methods of animation
Frame-by-frame/stop-frame, pose-to-pose, hand drawn/painted, scratched onto film, glass sheet and sand,
photograph manipulation, pixilation, Computer animation, 2D and 3D.
Camera work and movement
Tilt, Pan, zoom in/out, tracing, handheld, crane, pedestal, fade out/in.
Shot composition
Wide or long, medium, close up, extreme close up, blur, low angle, high angle, interview set-up, over the shoulder.
New terms translated:
Frame-by-frame – snímek po snímku (klasická animace, např. Hermína Týrlová)
Pixilation –práce jako u loutkové animace, ale s využitím předmětů životní velikosti nebo také herců
Tilt – naklonění kamery, Pan – panoramatický záběr, Zoom in/out – přiblížení/oddálení
Tracing – sledování pohybu filmovaného objektu, Handheld – snímání kamerou bez stojanu
Crane – snímání z jeřábu, Pedestal – při upevnění na podstavci, Fade in/out stmívání/rozetmívání
5 Worksheet C Exercise 1. This is a practical task where communicative language, asking questions about
details and giving instructions can be practiced. Students think of a short story and draw up the frames.
They should add details about camera work, sound and other spoken word. Worksheet C Exercise 2.
Let students in groups give instructions on how to prepare the film works, how to shoot.
6 Homework assignment: Students should start their personal photo collection of different storyboards or
design boards. During their visits to design shows or other art exhibitions they can notice different styles
of art work. Take photos of them if allowed. Or look up some on the web. At the end of the semester, they
should present the photos and talk about them at the class.
VARIATION
Let students write a brief summary of the story they have prepared so far as a storyboard. You can assign
this as homework.
Follow-Up
Optional extra activities can involve students’ research on different approach to storyboarding within their
art specializations. Note please that more recently the term storyboard has been used in the fields of web
development, software development and instructional design to present and describe interactive events as
well as audio and motion, particularly on user interfaces and electronic pages.
SOURCES:
http://blogs.timeslive.co.za/thefrockreport/tag/celeste-lee-arendse/
http://www.trendshot.it/trend/834/active-footwear-trend-boards-spring-summer-2012
http://www.storyboards-east.com/sb_jeep.htm
17 Present yourself
SAMPLE TOPIC
Presentation skills.
TIME
90 min
AIMS
To understand the concepts and language of presentations in its broad sense. Essential artist presentation
tools. How to prepare a presentation.
MATERIALS
Photocopies of student’s worksheets. Examples of bad/well prepared presentations (PowerPoint or similar).
PROCEDURE
This is the first part of a general lesson for all art specialisations helping students to understand the
concepts and language of presentations in its broad sense.
1 Warm-up: Ask students what artist presentation tools they remember from previous lessons or which ones they
just know/use, etc. If they do not know what you mean by artist presentation tools try other questions: How would
you present yourself/your work at a gallery? What do you need to do to get a grant for your project?
2 Distribute Worksheet A/1 and ask students to match the expressions in the orange box
(= artist presentation tools) with their definitions (marked with numbers) and sentences that sum up the
particular tool (letters). Students work individually or in pairs depending on their level.
Answers:
3/A 2/D 1/C 4/E 5/B
Artist portfolio description is very brief since it is described in the following activity and has been already covered.
You may want to show examples of the above on the Internet-see the Resources.
3 Distribute Worksheet A/2 and ask students to fill in the gaps in the text with the words provided.
Answers:
1/ portfolio 2/ visuals 3/ written 4/ discipline 5/ successful 6/ continuity 7/ include 8/ position
9/ objectivity 10/ feedback 11/ tailored 12/ audience 13/ supplement 14/ current 15/ powerfully
17 Present yourself
4 Students work in pairs and create questions (for gaps 1, 6, 9, and 13) as if they were asking to find out the
missing words. Monitor and give feedback. Explain or revise grammar points if necessary.
Suggested answers:
gap 1 What is the most powerful tool in your presentation? gap 6 What is one universal ingredient to a
portfolio? gap 9 What does this process (also) involve? gap 13 What do many artists do (now)?
5 Worksheets B/1; B/2 and C deal with presentation skills.
To introduce the topic distribute Worksheet B/1 and tell your students about an interesting statistic:
Some surveys and research results show that most people rather die instead of talking in front of
a live audience. This is a global fears top ten:
1 Fear of public speaking (Glossophobia)
2 Fear of death (Necrophobia)
3 Fear of spiders (Arachnophobia)
4 Fear of darkness (Achluophobia, Scotophobia or Myctophobia)
5 Fear of heights (Acrophobia)
6 Fear of people or social situations (Sociophobia)
7 Fear of flying (Aerophobia)
8. Fear of open spaces (Agoraphobia)
9 Fear of thunder and lightning (Brontophobia)
10 Fear of confined spaces (Claustrophobia)
Students work in pairs, discussing the statistics and continue with exercise 2, working individually
(writing) and then again in pairs (speaking).
6 Students work individually considering the steps when preparing for a presentation and then discuss it
with their partner.
Worksheet B/2 deals with the first part of Presentation skills in a nutshell. Elicit from the students what is meant
by each category and subcategory, what they would add, etc. Give them some time to work in groups or pairs.
Check the suggestions and ideas and share some of the following depending on their level and experience:
Situation
Purpose
Why are you doing this presentation? What are you expected to do? Persuade? Motivate? Help to understand?
There may be several reasons.
People=audience (size, age)
Make sure you know how much or how little they know about the subject of your presentation.
Who will be attending? Why are they attending? What do they expect to get? Who is the decision maker?
What is their attitude?
Point
What is your objective? What do you want to happen as a result of your presentation?
17 Present yourself
Place
Where are you doing the presentation? How big is the room? What is the layout of seats? What equipment
is available? How good is the lightning and how is it controlled? Are there any windows? If so, is the view
likely to distract participants? Are there curtains? Is the room relatively quiet?
Material
Finding
A successful presentation always begins with a careful background research-allocate sufficient time. Keep
your main objectives in mind.
Structuring (very detailed here, again, this depends on the particular presentation)
1 Introduction
Grab the audience’s attention
Ask a question (rhetorical); use a picture (must be clear, easy to see and need no explanation); tell
a great story (brief); a relevant joke (humour can be very effective but you need to consider your audience
very well, be aware of cross-cultural differences); cite a striking statistic or fact
State your purpose = why you are there, what you want to achieve.
Explain your agenda = what will be discussed or learned; the main points. It is a roadmap, both for you and
for your audience. It keeps everyone on track.
Establish personal benefit
Your audience is going to ask “What’s in it for me?” Focus on specific, personal benefit for the individuals
receiving the message.
2 Body
Select an appropriate organizational pattern
Chronological order; problem and solution; current situation and proposed situation; pros and cons, etc.
Limit your information
Keep it short and simple, show respect for their time. Most adults have an attention span of somewhere
between 25 and 40 minutes, and can only process 5 to 9 chunks of information.
Enhance with stories, numbers, and examples
3 Conclusion
Summarise your main points
Ask for specific action
What do you want them to do? Be specific.
Discussion
Anticipate and prepare = Put yourself in their seat, what questions would you ask? Prepare the questions
and answers, go through them, have them ready and if there are no questions at the end, you could say
“Well, if I was sitting out there I’d want to know…”. If your audience is shy, ask them to write down the
questions on cards you’ve distributed. Rephrase and/or repeat the question. We do this to verify understanding,
to maintain control over emotions, to buy time to think about the answer. Answer clearly to the whole
audience, not just the person asking. If a question is hostile do not repeat it; do not allow negative language
and feelings. Answer clearly to the whole audience, not just the person asking.
17 Present yourself
Close with a strong final statement
Think carefully about your last words since they could be what your audience remembers the best. “Thank
you” or “Are there any questions?” are not strong final statements. Instead, try to repeat something from
your attention grabber – consider material that will show the most benefit for them and will have the greatest
impact on your objective.
Writing
Remember that you are writing down something “spoken” not “read”. You should feel confident and relaxed
about the words you are delivering. Never memorize the whole sentences.
Transfer keywords and phrases from your presentation onto cards-number them in case there is a mix up.
Do not read your presentation.
AV aids
Studies by educational researchers suggest that approximately 83% of human learning occurs visually, and
the remaining 17% through the other senses. The studies suggest that three days after an event, people
retain 10% of what they heard from an oral presentation, 35% from a visual presentation and 65% from a
visual and oral presentation.
For our purposes, mostly computer slides will be discussed; they should be:
Appropriate
Your material should respect the corporate culture (logos, colours, etc); you need to consider your audience,
purpose and venue (lightning, size, shape).
Clear
Follow your outline and keep it simple. One concept per slide, 4 to max. 8 points on each slide - fewer is
better. Do not use the whole sentences – keep the details for your handouts.
Consistent
Consider background, font, capitalization, spacing, and illustrations. Choose a style that represents your
message, shows respect to the audience.
Some theories prefer light letters on a dark background (comfortable for your eyes dark - away, light closer),
some prefer dark letters on a plain background (when the room is not dark - modern technologies make this
possible - it is also comfortable for your eyes).
Keep the font size and type the same – about 24 points for body, about 38 points for titles. Use sans serif
for electronic presentations, serif for printed handouts.
When using bullets on slides, the points should be parallel (the grammar should be the same).
For example:
“Media, Source, Timing” (each item is a noun) or “Analyze the environment, Consider the options, Select
information” (begins with a verb).
Capitalise the first letter of the first word in each bullet point. Your titles should be in the same spot on each
slide and the body should start at the same spot on each slide. Graphs and clip art should be similar in size
and type, avoid mixing cartoon-character clip art with realistic-looking clipart.
Dynamic
Use powerful words, a dictionary will help. Find provocative pictures; create impressive
graphs (show only the idea, save the details for handouts). Technology is wonderful under
three conditions – it works, the speaker knows how to operate it, it truly enhances the
presentation.
17 Present yourself
Rehearsing
It is vital for a successful presentation, practice with your AV aids, rehearsing in front of your friend will build
your confidence. Practice helps to get rid of nervousness.
7 Worksheet C gives your students language examples from particular stages of a presentation. Refer to it while
explaining this first part and get back to it when continuing with the topic. Encourage the students to use
the ones they find useful in their presentations.
follow-up
Artist proposal
http://www.creativepublic.com/write_winning_proposal.php
How to write a winning proposal espec. for web designers.
http://www.graphics.com/modules.php?name=Sections&op=viewarticle&artid=169
Especially for graphic designers.
http://www.mcasd.org/about/proposals
A real example of Artist Proposal Guidelines.
http://inhabitat.com/design-proposal-for-the-newark-visitor-center-competition/
Design Proposal for the Newark Visitor Center Competition.
http://www.visitnewarknj.org/Home/Finalists.html
Finalist of the above.
Nice examples of language for Architecture (3D design) students and language of proposals in general.
Artist resume
http://www.visualoverture.com/artistsresume.htm#529504718
Including guidelines and templates.
http://www.squidoo.com/artist-resume
Why? What? How?
http://www.bestsampleresume.com/art-resumes.html
Specific sample art resumes.
Artist statement
http://www.squidoo.com/artist-statement#module15696832
Why? What? How?
http://www.artstudy.org/art-and-design-careers/sample-artist-statement.php
Sample Artist Statement.
17 Present yourself
http://jmcolberg.com/weblog/2009/05/defining_ones_work/
Espec. for photographers:
“In Berlin, there were more students than usual who claimed that the photography had to speak for
itself, and anyway, if they had wanted to talk about photography they would have become writers and
not photographers”.
A Sample Intro Letter to a Gallery Director
http://artmarketingsecrets.com/2009/05/a-sample-intro-letter-to-a-gallery-director.html
Artist bio
http://www.icateens.org/artist-bio-example
Artist bio example.
http://www.moma.org/interactives/exhibitions/2009/timburton/index.php
MOMA: Tim Burton’s bio - interactive; also a spoken statement.
SOURCES
HINDLE, T. Making presentations. DK Publishing, 1998. ISBN 978-0789424495.
ROLLS, J.A. Public speaking made easy. Thomson Nelson, 2007. ISBN 978-0131833210.
BIENVENU, S. The presentation skills workshop: helping people create and deliver
great presentations. American Management Association, 2000. ISBN 0-8144-0518-5.
BRADBURY, A. Successful presentation skills. Kogan Page, 2006. ISBN 978-0749445607.
http://www.artbusiness.com/artists.html
18 Eco design
SAMPLE TOPIC
Eco Fashion.
TIME
90 min
AIMS
Language: Giving opinions, agreeing and disagreeing.
Other: to discuss issues involved in “green” design.
MATERIALS
PREPARATION
Copy and cut the statements cards from Worksheet B.
If you wish, you may read an article online on ecological design and think about pros and cons of “green”
lifestyle (you may go to www.ecosalon.com, www.ecotecture.com).
PROCEDURE
1 Discuss what “eco” means to your students. Are there any other words associated with the idea? (green,
environment, environmental impact, sustainable development, holistic, renewable …)
2 Ask students whether they do anything to help the planet. Do they think they live ecologically? What can
be done to help in general? Discuss the ideas
Suggested Answers:
1 Slow down. Driving at 50mph uses 25% less fuel than 70mph.
2 Wash your clothes with your flatmates’ instead of wasting water on half-empty loads.
3 Turn down your central heating and put on a jumper.
4 Take a brisk shower, not a leisurely bath, to save water.
5 Choose energy-efficient appliances when you replace old ones.
6 Join a library instead of buying books.
7 Get on your bike instead of driving.
8 Use low-phosphate washing-up liquid and washing powder. Phosphates stimulate algal growth when
discharged into the water supply, lowering oxygen levels and killing plants and fish.
9 Take the plunge and move in with your partner so you light and heat one home rather than two.
18 Eco design
10 Give a colleague a lift to work; if no one is going your way, join a carshare scheme to find a passenger.
11 Cook for friends. Large quantities of food use less packaging than the same quantity in individual
portions (and take less energy to cook).
12 Refuse plastic carrier bags, or at least reuse them. Cloth bags are better.
13 Drink tap or filtered water, not bottled.
14 Lighten up: paint your walls a pale colour, so you need less artificial light.
15 Only flush toilets if really needed; follow the Australian maxim: “If it’s yellow that’s mellow, if it’s brown
flush it down.”
16 Improve the ambience and dine by candlelight, saving electricity.
17 Insulate your home. Cavity wall insulation can cut heat loss through the wall by up to 60%.
18 Grow plants to give to friends instead of cut flowers.
3 Distribute Worksheet A, Reading. Students work in pairs and fill in the gaps with suitable expressions.
Answers: 1 a, 2 h, 3 i, 4 b, 5 c, 6 d, 7 j, 8 e, 9 g, 10 f, 11 k
4 Follow to Worksheet A, Speaking. Students look at the pictures and think of what each picture may
represent in terms of ecological lifestyle. Let them discuss freely what each icon may symbolize.
Ideas may differ. Suggested Answers to some icons:
Light switch: Turn off lights. Turn off computers and other devices and appliances at night. By turning
them off instead of leaving them in sleep mode, you can save 40 watt-hours a day.
Solar panel/Sun/Wind turbine: Sun and wind are renewable non-polluting energy resources. Think about
the ways you use/waste energy and try to be economical with it.
18 Eco design
Bin/Heart: Recycle (glass). If it isn’t recycled, it can take a million years to decompose.
Carton/Lorry: Buy local food and producst so that they do not need to be transported from remote locations.
Paper bag: When shopping, get a paper bag instead of a plastic one or carry your own shopping bag with you.
Plant: Grow your own herbs to cook with. Or grow plants at home to help the planet produce oxygen.
Sun: Hang dry. Get a clothesline or rack to dry your clothes by the air. Your wardrobe will maintain colour
and fit, and you’ll save money.
Drop / Raindrop: Save water. Shower with your partner. Sneak in a shower with your loved one to start the
day. Not only have you made a wise choice for the environment, but you may notice some other added...
um...benefits.
Wash in cold or warm. If all the households in the U.S. switched from hot-hot cycle to warm-cold, we could
save the energy comparable to 100,000 barrels of oil a day.
5 Tell students that ecological or green design is currently extremely popular. You may even ask if they know
any personalities from their field who experiment with it.
Continue by writing the following definition/statement on the board. Discuss it briefly with the class.
“Ecological design illuminates a way to disengage from corporate consumer culture, and create a more
fulfilling lifestyle.”
6 Ask your students whether they are concerned about the ethical values of a company when they buy
clothes. In the following step, you are going to discuss some statements concerning ecological fashion.
Students discuss various statements in pairs or groups of three – you may decide to cut up the Worksheet B
and ask students to draw a statement an then comment on it or they may go through the list of statements
in Worksheet B one by one together.
7 Go to Worksheet C, Listening. Students look at the picture and guess what it is (Bamboo forest). Why is is
shown here? (Bamboo is very popular material today among eco-designers. Bamboo has become a popular
choice in durable, air permeable, soft fabrics, and is used in to make bedding, underwear, baby diapers,
blankets, bags, hats, and much, much more.
You can learn more at http://www.suite101.com/content/bamboo-eco-fashion-a50587)
Ask students if they can remember / think of other ecological materials used in fashion (but not only).
Suggested answers: hemp, jute, organic cotton, organic wool...
8 Tell your students they are going to watch a short video called “Bamboo – A Wise Man’s Timber”
(0 – 3,00)
http://www.arborcollective.com/category/eco-story/
Students listen and tick the advantages and uses of bamboo. Ask them to note any other advantages and
uses mentioned in the video which do not appear in the chart.
18 Eco design
Suggested answers:
These advantages are not mentioned in the video:
No irrigation required, highest per acre yields, incredibly renewable, totally biodegradable, bamboo fabric
naturally antibacterial, high tenacity.
Advantages: poverty alleviation, environmental protection, creates livelihoods, extremely versatile, one of
the fastest growing plants on the planet, absorbs more carbon than fast growing trees, ever green cover
provides valuable habitat for wildlife, prevents soil erosion, more durable than wood, highly flexible
Uses: buildings, interiors, in compressed form – wind turbine blades, environmentally sound constructions,
domes and structures, skateboards, surfboards, snowboards, bicycles, bio-gas generators, food
9 Play first three minutes of a video on ecological fashion. The video offered here, “Arbor Apparel Talks
Bamboo, Eco Fashion, and New Line”, is about Arbor Collective Company (http://www.arborcollective.com/
apparel/) which uses bamboo as its primary material. The company manufactures snowboards, surfboards
but also clothes. Students comment on the key words they hear in the text after watching the video.
http://www.youtube.com/watch?v=HW6BpQpRcvw
10 Conclude the lesson by discussing briefly with students.
VariationS
You may choose any topic or material you like and adapt it according to the needs of your class.
Follow-Up
Worksheet D, Reading on Bamboo.
19 Present yourself II
SAMPLE TOPIC
Presentation skills – continued.
TIME
90 min
AIMS
To understand the concepts and language of presentations in its broad sense. The process of
preparing oneself for a presentation, actual delivery of a presentation and handling the audience.
MATERIALS
Photocopies of student’s worksheets. Examples of bad/well prepared presentations (PowerPoint or similar).
PROCEDURE
This is the second part of a general lesson for all art specializations helping students to understand the
concepts and language of presentations in its broad sense.
1 Distribute Worksheet A reminding students the first oval (Preparing a presentation) has already been
covered (Lesson 17). Elicit from the students what is meant by each category and subcategory, what they
would add, etc. Give them some time to work in pairs or groups. Check the suggestions and ideas and share
some of the following depending on their level and experience:
Preparing yourself
BELIEVE IN YOURSELF
repeat positive and encouraging thoughts to yourself (I know my subject inside out. My rehearsals went
really well. etc.) / picture your success / think of a large audience as if it were a small group / identify your
strengths.
ANALYZE APPEARANCE
do not wear anything that might distract the audience / study yourself in a mirror to see what impression you
make / particular styles of dress can communicate specific messages / ask friends to comment on your image.
ELIMINATE TENSION
muscles become tense when you are nervous/ simple exercises can help reduce muscular tension (stretching;
squeezing and releasing a small rubber ball, etc.)
Delivering a presentation
CONTROLLING NERVES
it is normal to feel nervous about public speaking / the audience does not necessarily know you are nervous
/ identify = list the factors that make you nervous / thorough preparation = practice makes perfect / check
19 Present yourself II
all your AV aids/relax right before you speech/nerves can add extra, positive energy to your presentation use
some of your nervous energy to be even better.
VERBAL SKILLS
never read the slides or your notes / speak clearly – concentrate on your pronunciation, articulation, volume,
and pitch (low) so that your audience can easily and comfortably hear and understand your words / practice
your emphasis (determine what is the most important), pace (not too fast) and timing (a pause can be a
powerful tool)
+ Useful language from lesson 17
USING BODY LANGUAGE
eye contact: sweep across the audience in M or W direction / audience members who feel excluded by
the speaker are more likely to respond negatively / look above the heads to speak to the audience-look at
eyes to speak to people gestures: adapt to the size of your audience (larger a. require greatly exaggerated
movements) / gestures have a strong cultural content -bear this in mind posture: maintain open posture
as opposed to crossing your arms in front of your body / keep your head held high and facing the
audience / wear comfortable shoes / avoid bad habits and practice in front of a mirror.
CLOSING EFFECTIVELY
indicate the end: by informing your audience that the end is near you will have their full attention before
summarizing your main points final impression: this is what the audience is likely to remember the most/
make sure you stick to your allocated time /do not rush off as if you are in a hurry to leave memorable finish:
sum up the main points (use alliteration to make in impact), emphasize keywords/if possible do not leave
the questions until the very end-finish with a good strong summary
Handling an audience
THE MOOD
judge the mood of the audience by arriving early enough to asses it (previous speakers, weather, time, venue, etc.)
QUESTION TIME
anticipate and prepare = put yourself in their seat, what questions would you ask? / prepare the questions
and answers, go through them, have them ready and if there are no questions at the end, you could say
“Well, if I was sitting out there I’d want to know…” / rephrase and/or repeat the question - we do this to verify
understanding, to maintain control over emotions, to buy time to think about the answer /answer clearly to
the whole audience, not just the person asking.
2 Distribute Worksheet B. The cartoon leads to the final exercise on presentation skills. Students assess
PowerPoint presentations you have collected/found/etc. If you do not have any examples of bad and well
prepared PP presentations student may assess each other (see Follow-up).
follow-up
Practising presentations in front of the class.
SOURCES
See lesson 17 Present yourself.
20 Tense time!
SAMPLE TOPIC
Authentic texts on Art.
TIME
90 min
AIMS
Revise the rules concerning the use of certain grammar tenses. Practise a range of grammar tenses in
authentic situations.
Transfer
Activity can be transferred to any specialism.
MATERIALS
Photocopies of student’s worksheets. Photocopies of cards - one set per group.
PREPARATION
Print and bring sets of cards to the class.
PROCEDURE
1 The lesson is aimed at practising tenses which students may come across when dealing with a variety of
authentic texts on art (but not only:). Students are mostly familiar with the tenses discussed below, however,
this lesson brings some new uses of common tenses which may surprise some of your students.
You may start by a warm-up – giving each student a different tense (see the chart below) and ask him/her
to produce a sentence.
Alternatively, you may decide to read a short text and ask students to identify tenses. It does not necessarily
mean that all the tenses mentioned during this warm up stage will be explained in detail later!
Tense
Present Simple
TIME
past present future
I want a coffee.
She likes coffee.
I leave tomorrow.
20 Tense time!
I am having dinner.
Present Continuous
I am taking my exam
next month.
They are livingin London.
Present
Perfect Simple
Present
Perfect Continuous
I have seen ET.
I have been playing
tennis.
We have been working for four hours.
Past Simple
I finished one hour
ago.
Past Continuous
I was working at
2am this morning.
Past Perfect Simple
I had not eaten for
24 hours.
Past
Perfect Continuous
We had been working
for 3 hours.
Future Simple
I have finished.
If she loved you now,
she would marry you.
If you came tomorrow,
you would see her.
If I had been working
now, I would have
missed you.
If I had been working
tomorrow, I could not
have agreed.
Hold on. I’ll do it now.
I’ll see you tomorrow.
I will be working at
9pm tonight.
Future Continuous
Future
Perfect Simple
I am having dinner.
I will have finished
by 9pm tonight.
We will have been married for ten years next month.
They may be tired
when you arrive
because they will
have been working.
Future
Perfect Continuous
In 30 minutes, we will have been working for four hours.
20 Tense time!
2 Proceed to the text (Worksheet A, Grammar). Let students read the text individually, helping them with new
expressions. Ask them what style it is (report) – it may help some with filling in the correct forms of the verbs.
After they fill in the gaps, let them listen to the report (Worksheet A, Listening) and check. Then procced to
Reading.
If you wish to start your lesson with a different recording on tenses, modify the following steps in Worksheet A
accordingly.
Answers:
has won, tells, plays, has won, joked, was named, break down, had made
http://www.bbc.co.uk/worldservice/learningenglish/language/wordsinthenews/2011/01/110117_witn_goldenglobes_page2.shtml
Vocabulary and definitions:
legal tussles - legal dispute
screenplay - all the words written (script) for a film or TV show and instructions for how it is to be acted
and filmed
social experience of college - process of student life, of making friends and sharing ideas and hobbies at
university
period drama - film or TV show set during a specific time in the past, with costumes and buildings from
that particular time
monarch - here, King
stammering - speaking with great difficulty, often repeating words or parts of words before being able to
continue
stave off - prevent or delay
precarious - insecure or uncertain
reassurance - advice to make you feel better about something
heartfelt standing ovations - sincere congratulations from an audience who have all stood up at once and
applauded (someone)
3 Students work in pairs and match the definitions with tenses and examples from the text (Worksheet A,
Reading).
Answers:
a) present simple, b) past perfect simple, c) present perfect simple, d) past simple
You may give students further examples illustrating the use of tenses:
Sea defences, which were erected to protect farmland on a mile-long stretch of coastline in East Anglia,
have been dismantled in order to return 200 acres to salt marsh.
As I entered, I remembered that I had eaten in this restaurant twice before.
I phoned her to see if she wanted a lift, but she had already left.
I haven’t yet visited the capital city and I’ve only been to the provincial capital once. (i.e. in my entire life)
But I’ve just passed my driving test and I’ve bought a new car (both in the very recent past) and I intend
to travel soon.
20 Tense time!
A man goes to visit a friend and is amazed to find him playing chess with his dog. He watches the game
in astonishment for a while [...]
4 Follow with Worksheet B, Reading. Students read excerpts taken from authentic materials and decide
what could serve as a source of the text. If you think they might experience difficulties doing this, provide
the ideas and let them choose the correct one for each text:
Answers:
1 Bio of an artist in a magazine, but could be obituary too:), 2 Exhibition review, 3 Interview with an artist, 4
Artist statement, 5 Gallery talk, 6 Lecture, 7 Gallery talk again, or guided tour in a museum/gallery, 8 Radio
report on festival
5 Worksheet B, Speaking. Students work in groups of five. Distribute the cards. Students read their cards
individually and then explain what the rule is to the rest of the group without mentioning the tense – the
others write theiranswers down, they check together and look for the examples in the text.
6 Worksheet B, Grammar.
Answers: do, would walk, won’t be, is being shot, feel, will promise, would walk, will always be, will look,
smells, is being interviewed
SOURCES
http://www.bbc.co.uk/worldservice/learningenglish
20 Tense time!
Card 1
Would is an auxiliary verb that can be used to talk about habitual actions - things that we do
regularly. But “would” can also be used to talk about temporary or repeated events in the past.
“Used to” and the simple past are also possible ways to talk about things we used to do in the past
quite regularly.
However, there is an important difference between ‘would’ and ‘used to’. ‘Used to’ can be used to
talk about past states as well as past repeated actions habits, but ‘would’ is only used to talk about
past habits. ‘Would’ is not used to talk about past states.
Only ”used to” is used to describe permanent states in the past.
“My grandma used to live in Indonesia.”
“Would” is not used to describe permanent states in the past.
We generally use ”would” ONLY when the past time and the topic have already been established,
or understood.
“I used to have a lot of fun when I was younger. We would spend hours playing football in the
street,”
because here, we’ve established the past time and the topic by using “used to” or an expression like,
“when I was a child” or “many years ago”.
Card 2
Passive sentences focus on the noun that is the receiver or result of an action, rather
than the noun that is performing the action (the agent).
We often prefer to use the passive voice when:
1 We do not know who the agent is. “I am being followed!”
2 When it is obvious to the listener or reader who the agent is: “She is being paid less then her
male colleagues.”
3 When it is not important to know who the agent is: “Do you want a lift?’ ‚No thanks, I’m being
collected.”
20 Tense time!
Card 3
Habits in the present are normally expressed by the Present Simple. But, among other uses of the
Future Simple, will + infinitive can be used instead when we wish to emphasize the characteristics
of the performer rather than the action performed. It is chiefly used in general statements:
An Englishman will usually show you the way in the street. (It is normal for an Englishman to
act in this way.)
She will always greet you.
She will bit her lip if she is thinking or if she’s nervous about something.
He will always make noise when we are sleeping.
Card 4
We do not normally use do or does in affirmative sentences, but we can use them for emotive or
contrastive emphasis when we feel strongly about something:
She thinks he doesn’t love her, but he does love her. He really does!
Are you all right? You do look a bit pale. Do please sit down.
I don’t see very much of my old friends now, but I do still email them.
When we are using the auxiliaries do and does for contrastive or emotive emphasis like this, we give
them extra stress in pronunciation to make them sound louder, longer or higher in tone. When you
see these words in print used in this way, they will normally be in italics or bold type or in CAPITAL
LETTERS.
a. Unemphatic (without do support) He dances; she sang.
b. Emphatic (with do support) He does dance; she did sing.
20 Tense time!
Card 5
There are two types of verbs, action verbs and state verbs. Action verbs include ones like kick, take,
do. State verbs include ones like have, be, know, believe. Interestingly, state verbs often describe
things connected to our minds and thoughts, as well as possession and existence. To be or not to
be for example.
It is unusual for a verb with a state meaning to be used in the continuous form. The
continuous form suggests something temporary and of limited duration, usually happening at
a specific time, for example; “At the moment, I am working on a computer.”
A state is something which has a feeling of permanence or unlimited duration.
For example: “The sun is the source of energy.”
We say ‘I know my Father’, not ‚I am knowing my father’, because the relationship feels permanent,
and it is a state of knowledge not an activity. However, there some verbs which usually have a state
meaning, but can sometimes have an action meaning. ‘Think’ is a good example of this. Here are
two examples:
“What do you think of the weather in your country?” “Hey David, you seem worried. What are
you thinking about?”
21 Graphic design
SAMPLE TOPIC
Social Media Icons, talking about designing a home page.
TIME
90 min
AIMS
To review vocabulary of elements and principles of design, to share advice of some graphic artists.
Vocabulary development: specific terminology for visual composition.
Speaking practice: describing, instructing, asking for detailed instruction.
MATERIALS
PREPARATION
Ask students to look at their favourite contemporary artist’s home page. What makes it interesting? What
positive aspects could they note down about its design.
PROCEDURE
Pass out SW and start with the warm up activity when students review provided words.
ON LESSONS LEARNT
(adapted after text in “The Essential Principles of Graphic Design”)
1 Warm up: discuss the following words. Can students explain all of them in English?
A brief, a client, an annual report, a budget, a sale sign, a mural, a venue
2 Listen to four personal stories. What lesson has each artist learnt? Let students listen for general idea and
have them match the answers.
1 Richard Colbourne A
“Go as far as possible but also do your best.”
2 Matteo Bologna C
“Nothing professional is easy for a beginner.”
3 Branko Lukic D
4 Brian Rea B
“Good planning is essential.”
“Present your work with passion and love.”
21 Graphic design
LISTENING SCRIPT:
A) Richard Colbourne
Fifteen years ago, in London, I designed an annual report for a British MacDonald’s. I remember being very
nervous as I presented the final photography to the client. I had interpreted the brief in a radical way and
spent the entire budget doing it. I always use my intuition when I interpret a brief creatively.
To my relief, McDonald’s loved the photos, and I learned an important point: if you aren’t nervous enough
in a presentation, then you haven’t pushed the envelope.
B) Matteo Bologna
My first paying job was for a neighbour grocer who had heard that I was an art student. He asked me to
make a couple of sales items for his shop window. In two weeks, using a ruler, pen, gouache, French curves
and my best hand drawing, I turned into a sleepless ghost.
When I finally turned in my grocery-store sale sign I was paid $ 10 for my aesthetics. Well, I came to a
conclusion: Leave the “vernacular” to the professionals, who never refer to “vernacular” in the first place.
C) Branko Lukic
When I was 19 I was hired to create a series of gigantic billboards for the concert venue SKC, in Belgrade,
Serbia. It was impossible to have them printed, so I was forced to paint them all by hand as large murals. I
guess you should always look before you leap.
D) Brian Rea
When I was in the third grade I submitted a colouring-contest entry to the local drug store. First prize was
an awesome bike with yellow mag wheels. I came in second and was crushed. The following year I tried again,
adding colours that to my mind had never existed. I went as far as mounting the whole picture on navy-blue
construction paper. I won the bike that year and a lesson was learnt: a passionate presentation counts.
3 Discussion
Have you ever made a mistake? What lesson have you learnt?
4 From the following graphic design specializations, which were mentioned by the artists above?
Book Jacket Design
Catalogue Design
Periodical Design
Magazine Design
Poster and Billboard Design - BranKo LuKic / billboards
Drawing and Illustration - Brian Rea / a colouring contest
Annual Report Design - Richard Colbourne / annual report
Packaging
Music Packaging
Typography - Matteo Bologna / a sale sign
Corporate Web Design
Personal Blog Design
Community Blog Design
Motion Graphics
Television Graphics
21 Graphic design
5 Read more about one of the artists. Within his graphic field, what type of work does he specialize in?
Richard Colbourne has specialized in the following:
Business and financial communications and exhibit design, corporate identity and related fields of strategy,
branding, naming, web concepts and 3D design.
Richard Colbourne Addison, New Yor
After completing studies in graphic design in Munich, Richard moved to a newly founded design studio
KMS, which concentrates on graphic design, business and financial communications and exhibit design.
In recent years, the studio has increasingly focused on corporate identity and related fields of strategy,
branding, naming, web concepts and 3D design. The firm’s international clientele includes Adidas, Canyon,
Diakonic, Heidelberg, Lamborghini, Mercedes-Benz, Porsche Design and Vitra. KMS has also been honored
with numerous awards in Europe and in the U.S. including: Corporate Design Preis: Winner; Contract World
Award: Winner Showrooms; New York Festivals: Gold and Silver World Medal; and many more.
6 In the text above, find verbs in past simple, present perfect, active or passive. Then go back to our four
life lessons and listen for the second time. Make notes. Get ready to sum up the story.
7 Write two sentences about each artist. Begin like this: When he was young he ... For his good sake he has
learnt …
Richard ………………… He used his entire budget for a project. He interpreted the brief creatively. He has learnt
to risk and go as far as possible.
Matteo ………………….. He drew a sale sign by hand. He took a long time with a simple task. He has learnt that
professionals know better in every field.
BranKo …………………. He had to paint large billboards by hand. He painted murals in fact. He has learnt that
good planning is very important.
Brian ……………………. He was persistent and enthusiastic with his picture. He did not give up. He has learnt
that passion and love for work and presentation is a way to success.
8 The activity with letter compositions stimulates students´ description skills when talking about visual
compositions. Encourage students to talk about each letter composition in pairs. Then move on to the
activity about the principles of organisation. Ask students to point out to those principles that are relevant
to designs done in their studio work.
Simple
Solid
Active
Abstract
Stable
Readable
Symmetrical
Represential
Static
Dynamic
Unbalanced
Centered
Assymmetrically balanced
Diagonal
Busy
21 Graphic design
Some principles of organization that affect the composition are:
~ Shape and proportion
~ Figure and ground and negative space
~ Positioning/Orientation/Balance/Harmony among the elements
~ Cropping
~ Colour
~ Contrast and lighting as the value, or degree of lightness and darkness
~ Geometry and use of the golden mean
~ Rhythm and repetition or a pattern
~ Perspective
Breaking the rules can create tension or unease. It can also add interest to the picture if used carefully.
9 Students play a game of picture dictation. Pictures can be revealed only after being totally completed.
Students are encouraged to use only English.
21 Graphic design
ON WEB DESIGN
1 Distribute the Worksheets C and ask students to study the pictures. Let them look and discuss the
following questions:
What do the following icons represent?
Facebook, Twitter, You Tube, Yahoo, Google, LinkedIn, Stumble Upon, Delicious, Flicker, Design Float, Tumblr,
Newsvine … can students recognise more of them? Which ones do they use and what for?
2 Describe visual qualities of two of the social media icon sets. Use any of the words from the previous
activity in SW 2 and choose from the following vocabulary as well:
Circular, rectangular, triangular, square, shiny, glossy, metallic, textured, antique, high-tech, geometrical,
wooden, natural, carved, indented, easy to read, hard to read, plain, unified, coherent, unexciting, appealing,
eye-catching, illegible, 3D, plastic, busy
3 What makes a good website? Have you designed your own home page? Prepare a short statement. Sort
out your ideas into the table.
Students work with a cut out table. Provide an envelope with strips so that students have a chance to sort
out their ideas on their desks.
When designing a home page
Original document template
Banners
Clear layout
Scrolling text
Easy navigation
Music
Compelling content
Little animation
Interactive
Pop-ups
Hyperlinks to other pages
Low key colours
Visual theme
Online games
This is just a suggested outline. Little animation is out of context unless you sell products that need action.
Music can be distractive as well. Plus not everybody has the same music taste. Scrolling text, long pages to
read discourage visitors to spend time looking for the right information.
Ask students to prepare a short talk in groups. Then ask them to write a short instructional text giving
advice on how to design a good home page or a website.
For homework or a follow up activity ask students to look up these abbreviations and terms:
HTML – Hyper Text Mark Up Language
CSS – Cascading Style Sheets, most common to style web pages
GIF – Formatting for line art and illustrations
SEO– Search engine Optimalization
21 Graphic design
JPEG– Image formatting used for photographs
PPC – Pay Per Click
DATA BANDWITH– a rate measure for available data
IM – Internet Marketing
PAGE IMPRESSION – a frequency of a page being pulled up
SOURCES
MILLMAN, D. The Essential principles of Graphic Design, How 2008
Debbie Millman has worked in the design business for over 25 years. She is President of the design division
at Sterling Brands. She has been there for nearly 15 years and in that time she has worked on the redesign
of global brands for Pepsi, Procter & Gamble, Colgate, Nestle and Hasbro.
Debbie is President of the AIGA, the largest professional association for design.
http://sixrevisions.com/freebies/icons/burnt-wood-a-social-media-icon-set/
22 Team roles
SAMPLE TOPIC
Role team psychological tests.
TIME
90 min
AIMS
Practise vocabulary connected with one’s professional skills.
MATERIALS
PREPARATION
If you wish, you may set Belbin team role test as a home assignment before you actually teach the lesson
– see “extra material” section in TN.
PROCEDURE
1 Distribute Worksheet A. Students look at the list of qualities and choose the ones they consider essential
for their profession (Word Power). Ask them to comment on their selection (Speaking).
2 Tell students that all the qualities are taken from a so called Belbin test. Has any of your students ever
heard about it? If not, explain that it is a test given to people to find out which role in a team they seem to
play. By finding out, it helps people to apply a job which is the most suitable for them. Ask them why they
think it is good for a person to know one’s role in a team. Then read the text. (Worksheet A, Reading).
3 Students look at the list of roles in a team and think about qualities from the list in Word Power part which
they could match with each type with (Worksheet A, Speaking).
22 Team roles
Answers:
Type QUALITIES
COMPANY WORKER
Conservative, dutiful, predictable
CHAIRPERSON
Calm, Self confident, controlled
SHAPER
Highly strung, outgoing, dynamic
PLANT
Individualistic. Serious minded, unorthodox
RESOURCE INVESTIGATOR
Extroverted, enthusiastic, curious, communicative
MONITOR EVALUATOR
Sober, unemotional, prudent
TEAM WORKER
Socially orientated, rather mild, sensitive
COMPLETER–FINISHER
Painstaking, orderly, conscientious, anxious
4 Distribute Worksheet B, Reading and Speaking. Students look at the individual professions and their
description. Ask them to think about each profession and qualities essential for it. Students match the
professions with the team role they consider most suitable and explain their choices. Sometimes, they may
use more than one role.
5 Conclude with speaking activity when students choose the roles most needed in their own line of work by
ticking them in the chart and comment on their choices.
SOURCES
http://www.belbin.com/
http://www.psyonline.nl
22 Team roles
TN Extra Materials
BELBIN SELF PERCEPTION INVENTORY
INSTRUCTIONS
To respond to this inventory, you will need to think back to occasions when you have been involved in any
form of team activity and to make generalisations on the basis of those experiences. For each section, you
are asked to distribute a total of ten points among the sentences which you think more accurately describe
your behaviour. These points may be distributed among several sentences, in extreme cases they might be
distributed among all the sentences or 10 marks might be given to a single sentence. However try to avoid
either extreme. When you’ve finished, enter the points in the table provided on page?
Time estimate = 25 minutes.
SECTION 1
WHAT I BELIEVE I CAN CONTRIBUTE TO A TEAM
(a) I think I can quickly see and take advantage of new opportunities.
(b) I can work well with a wide range of people.
(c) Producing ideas is one of my natural assets.
(d) My ability rests in being able to draw people out whenever I detect they have something of value to
contribute to group objectives.
(e) My capacity to follow through has much to do with my personal effectiveness.
(f) I am ready to face temporary unpopularity if it leads to worthwhile results in the end.
(g) I can usually sense what is realistic and likely to work.
(h) I can offer a reasoned case for alternative courses of action without introducing bias or prejudice.
SECTION 2
IF I HAVE A POSSIBLE SHORTCOMING IN TEAMWORK IT COULD BE THAT
(a) I am not at ease unless meetings are well structured and controlled and generally well conducted.
(b) I am inclined to be too generous towards others who have a valid viewpoint that has not been given
a proper airing.
(c) I have a tendency to talk too much once the group gets onto new ideas.
22 Team roles
(d) My objective outlook makes it difficult for me to join in readily and enthusiastically with colleagues.
(e) I am sometimes seen as forceful and authoritarian if there is a need to get something done.
(f) I find it difficult to lead from the front, perhaps because I am over responsive to group atmosphere.
(g) I am apt to get too caught up in ideas that occur to me and so lose track of what is happening.
(h) I can offer a reasoned case for alternative courses of action without bias or prejudice.
SECTION 3
WHEN INVOLVED IN A PROJECT WITH OTHER PEOPLE
(a) I have an aptitude for influencing people without pressurising them.
(b) My general vigilance prevents careless mistakes and omissions being made.
(c) I am ready to press for action to make sure that the meeting does not waste time or lose sight of the
main objective.
(d) I can be counted on to contribute something original.
(e) I am always ready to back a good suggestion in the common interest.
(f) I am keen to look for the latest new ideas and developments.
(g) I believe my capacity for judgement can help to bring about the right decisions.
(h) I can be relied upon to see that all essential work is organised.
SECTION 4
MY CHARACTERISTIC APPROACH TO GROUP WORK IS
(a) I have a quiet interest in getting to know colleagues better.
(b) I am not reluctant to challenge the views of others or to hold a minority view.
(c) I can usually find a line of argument to refute unsound propositions.
(d) I think I have a talent for making things work once a plan has to be put into operation.
(e) I have a tendency to avoid the obvious and to come out with the unexpected.
(f) I bring a touch of perfectionism to any job I undertake.
22 Team roles
(g) I am ready to make use of contacts outside the group itself.
(h) While I am interested in all views I have no hesitation in making up my mind once a decision has to be made.
SECTION 5
I GAIN SATISFACTION IN A JOB BECAUSE
TIME
(a) I enjoy analysing situations and weighing up all the possible choices.
(b) I am interested in finding practical solutions to problems.
(c) I like to feel I am fostering good working relationships.
(d) I can have a strong influence on decisions.
(e) I can meet people who may have something new to offer.
(f) I can get people to agree on a necessary course of action.
(g) I feel in my element when I can give a task my full attention.
(h) I like to find a field that stretches my imagination.
SECTION 6
IF I AM SUDDENLY GIVEN A DIFFICULT TASK WITH LIMITED TIME AND UNFAMILIAR PEOPLE
(a) I would feel like retiring to a corner to devise a way out of the impasse before developing a line.
(b) I would be ready to work with the person who showed the most positive approach.
(c) I would find some way of reducing the size of the task by establishing what different individuals might
best contribute.
(d) My natural sense of urgency would ensure that we did not fall behind schedule.
(e) I believe I would keep cool and maintain my capacity to think straight.
(f) I would maintain a steadiness of purpose in spite of the pressures.
(g) I would be prepared to take a positive lead if I felt the group was making no progress.
(h) I would open up discussions with a view to stimulating new thoughts and getting something moving.
22 Team roles
SECTION 7
WITH REFERENCE TO PROBLEMS TO WHICH I AM SUBJECT IN GROUPS
(a) I am apt to show my impatience with those who are obstructing progress.
(b) Others may criticise me for being too analytical and insufficiently intuitive.
(c) My desire to ensure that work is properly done can hold up proceedings.
(d) I tend to get bored rather easily and rely on one or two stimulating members to spark me off.
(e) I find it difficult to get started unless the goals are clear.
(f) I am sometimes poor at explaining and clarify complex points that occur to me.
(g) I am conscious of demanding from others things I cannot do myself.
(h) I hesitate to get my points across when I run up against real opposition.
POINTS TABLE FOR BELBIN SELF PERCEPTION INVENTORY
INSTRUCTIONS FOR SCORING:
First you transfer your points from the boxes on the inventory itself to the boxes below. You will see that the
seven sections are listed on the left hand side and the letters linked to the different statements run across
the top. So, if in section 1 you gave 7 points to the statement (b), 2 points to statement (c) and I point to
statement (g) your score sheet would show:
SECTION
1
(a)
(b)
7
(c)
2
(d)
(e)
(f)
(g)
1
(h)
(d)
(e)
(f)
(g)
(h)
Now go on to fill the whole points table:
SECTION
1
2
3
4
5
6
7
(a)
(b)
(c)
22 Team roles
SELF-PERCEPTION INVENTORY ANALYSIS SHEET
The second stage is to take the scores from the points table and transpose them section by section on to
the analysis table below. Then add up the points in each column to give a total team role distribution score.
The letters across the top correspond to Belbin’s team roles; a key to the meaning of the letters is on the
next page, together with a table summarising the type of person who tends to occupy each of the roles.
Your highest totals indicate the team roles you feel most comfortable with.
SECTION
CW
CH
SH
PL
RI
ME
TW
CF
1
g
d
f
c
a
h
b
e
2
a
b
e
g
c
d
f
h
3
h
a
c
d
f
g
e
b
4
d
h
b
e
g
c
a
f
5
b
f
d
h
e
a
c
g
6
f
c
g
a
h
e
b
d
7
e
g
a
f
d
b
h
c
TOTAL
BELBINS TEAM ROLES
KEY TO ABBREVIATIONS:
CW / Company Worker
RI / Resource Investigator
CH / Chairperson
ME / Monitor Evaluator
SH / Shaper
TW / Team Worker
PL / Plant
CF / Completer-Finisher
22 Team roles
USEFUL PEOPLE TO HAVE IN TEAMS
TYPICAL FEATURES
POSITIVE QUALITIES
ALLOWABLE
WEAKNESSES
Conservative, dutiful,
predictable
Organising ability,
practical common
sense, hard- working,
self-disciplined
Lack of flexibility,
Unresponsiveness to
unproven ideas
Calm, Self confident,
controlled
A capacity for treating
and welcoming all
potential contributions
on their merits, strong
sense of objectiveness
No more than ordinary
in terms of intellect or
creative ability
SHAPER
Highly strung,
outgoing, dynamic
Drive and a readiness
to challenge inertia,
ineffectiveness,
complacency or self
deception
Proneness
to provocation,
irritation and
impatience
PLANT
Individualistic. Serious
minded, unorthodox
Genius, imagination,
intellect, knowledge
Up in the clouds,
inclined to disregard
practical details or
protocol
RESOURCE
INVESTIGATOR
Extroverted, enthusiastic, curious,
communicative
A capacity for
contacting people,
exploring anything
new, an ability to
respond to challenge
Liable to lose interest
once the initial
fascination has passed
MONITOR
EVALUATOR
Sober, unemotional,
prudent
Judgment, discretion,
hard headedness
Lacks inspiration or
the ability to motivate
others
TEAM WORKER
Socially orientated,
rather mild, sensitive
An ability to respond
to people and to )
situations, and to
promote team spirit
Indecisiveness at
moments of crisis
COMPLETER-FINISHER
Painstaking, orderly,
conscientious, anxious
A capacity for
follow-through
A tendency to worry
about small things, A
reluctance to ’let go’
TYPE
COMPANY WORKER
CHAIRPERSON
23 Be creative
SAMPLE TOPIC
A variety of ideas on how to improve your creative approach to design.
TIME
90 min
AIMS
To review vocabulary from winter and summer lessons before final spoken examination: qualities of materials,
shapes, forms of visual presentation.
Speaking practice: describing 2D and 3D designs and visual artwork, instructing, asking questions about
a way of organising work in a team.
MATERIALS
PREPARATION
Distribute Wokrsheets A one week before the actual lesson. Students can spend more time drawing at
home. They should bring to class their ideas on how to name their drawings. Let them know that a speaking
and writing activity will follow in class.
PROCEDURE
As a warm up, ask students if they could name some artists who they consider very creative. Living or from
the art history, they should represent a model of creative thinking. What unusual ideas have he or she been
famous for? (Students will probably remember Picasso as one who used many different types of art media.
Leonardo da Vinci is another famous example from visual arts, but for example a musician Jimmy Hendrix
was also very interested in creative science ideas and science fiction.)
23 Be creative
DRAWING AND SPEAKING
1 This task is based on a clever advertising campaign for Panamericana School of Art and Design. It is a
warm up for the lesson where we work with innovative ideas and there are no pre-set right answers. It is
possible to hand out this sheet a week ahead of the lesson and let students complete the page at home. It
allows more time for speaking and a short writing task during the actual lesson.
Example of a completed sheet:
SPEAKING
When students finish drawing, ask them to exchange their Worksheets, preferably with someone sitting
behind or in front of them. Ask students to work in pairs. They should give English titles to as many pictures
as possible in three minutes. Then let them go back to their original worksheets and let them draw three
more designs which are in their other group, either OO or XX.
WRITING
2 The very beginning of a creative process can start in a number of ways. Some designers browse through
magazines (fashion or shoe design) and some walk through their favourite sites (photography or camera
work). Ask students to write about 150 to 200 words. They can share their writing in groups for a quick
feedback.
23 Be creative
CREATIVE TEAMS
SPEAKING
1 Lead students to a discussion about team work. Find out who has worked on a group project when at
school or outside of school. Let students speak to class about their experience.
LISTENING
2 Students will listen to an interview with Johan Kramer, a Dutch film director and a media designer. Let
them read the questions first. (Ask two students with good pronunciation to read the skript.)
According to Johan, what are the three most important qualities for a creative team?
What does Johan consider to be slowing down creativity?
How does Johan help his team of creative artists deal with stress?
Why is humour important in creative team work?
Listening script and the answers:
Mario: What do you consider to be the three most important factors in creating the ideal breeding-ground
for creativity within a team?
Johan: 1 respect 2 compassion 3 humour
Mario: And what do you consider to be the three things that most paralyse and block creativity in meetings?
Johan: 1 fear 2 insecurity 3 too much experience (which leads to cynicism).
Mario: Recent studies have identified stress as the number one enemy of creativity. What do your creatives
do to preserve their creativity among the hustle and bustle of the advertising agency?
Johan: We’ve changed our working place into a wooden fort that looks like a children’s playground. We do
everything to make our creatives feel at home and make them very much appreciated. In the end, all creatives
are children who are very insecure and need constant confirmation that they are doing the right thing.
Furthermore, they are in close contact with all our clients, so they understand their pressure as well. So, in the
end the client is not an unknown enemy, but another human being, hopefully seen as a nice friend
Mario: In your experience, what kind of role do wit and humour play in creative meetings? Does an element
of fun in meetings produce better results?
Johan: Sure. We are in the business of imagination, so let’s be crazy. It’s important to take things not too
seriously, only then you start seeing opportunities for doing things differently.
23 Be creative
Kessels Kramer is an international advertising and communications agency founded in Amsterdam in 1996
by creatives Erik Kessels and Johan Kramer. Around 30 people from different countries work at KesselsKramer.
The agency produces campaigns for both national and international clients like Diesel, 55 DSL, Novib and Ben.
Apart from advertising, a lot of other stuff is created. Music videos, books, documentaries and even postage
stamps. Johan Kramer devoted a lot of his time directing many of the commercials made by KesselsKramer
before he left the agency in 2005 to became a full time film director.
Source:
http://www.mariopricken.com/en/creatives.cfm#Johan_Kramer
Also:
http://wearepi.wordpress.com/2011/02/08/hmm-johan-kramer-328-stories/
ROLE PLAY
Refer to discussion in task 1 in this Worksheets B. Form two groups, within your class, one with teamwork
experience and one with none or little experience. Tell students in group of interviewers to get ready to
interview a member of team. They should prepare a set of questions to ask about cooperation, responsibility
and time management.
Examples:
How did you share work?
Did you appoint one “boss” or did you all agree in a democratic way?
Were there deadlines you could not meet? Did that cause stress? How did you make sure deadlines were met?
Did you always have all the information about the project?
Team workers should think of their experience in relation to the sample questions in their Worksheets.
When the interviews are finished, let students share the final ideas with the whole class.
23 Be creative
WORD POWER
1 Some advice on visual creativity practice is used here to stimulate lexical activity. It serves as a revision
on vocabulary related to shapes and adjectives which associate with studio art work. Refer to lesson 9.
Students first put collocations together as a vocabulary practice and a warm up for the drawing task.
They can come with very unconventional ideas as defining rhomboid or balanced cone, readable cube or
asymmetrical spiral. Let them experiment with ideas and words.
Most common 2D shapes: square, circle, oval, crescent, triangle, rectangle, rhombus, rhomboid, parallelogram,
pentagon, hexagon, octagon.
3D shapes: cube, sphere, pyramid, cone, prism, cuboid, cylinder.
DRAWING 2
2 The following task with a light bulb is a completion of the previous lexical exercise. When students finish
drawing, ask them to describe their pictures in groups. They will explain a new use and related associations
for this shape.
Possible solution:
3 What could you use it for? This free association activity can be assigned for homework. Demonstrate with
the class what size, shapes and functions an alarm clock could have. (Google out new inventions for and
alarm clock. Even a pillow glowing in the dark can be your example.) There could be a storm of inventions
used to talk about shapes, colours and functions. At home, students can think of some more ideas of a new
use of their invented product.
23 Be creative
WORD POWER
1 Before this activity called Materials mixed and matched, ask students to name as many materials as
possible. It is a lexis revision from winter semester, lesson 4. Pictures in Worksheets will help students to
start off with some most common materials. They can start making a list, either by writing on a board in
two teams or in groups formed at their desks. Students then compare their answers. The following task
will utilize all the words referring to materials. When sharing ideas later on in class, make sure students
eventually describe material quality to each object they have in the list. Suggested list:
Plastic Flammable, recyclableSo
MATERIAL MATERIAL QUALITY
Clay
Malleable – tvárný
Concrete
Durable, heat/water resistant, tough, hard, dense
Fabric
hemp – konopí,
burlap – pytlovina,
corduroy – manšestr,
denim – džínsovina,
velvet – samet,
linen
– len,
cotton, silk, wool
Soft, breatable, flamable
Felt – filc
Soft, warm, not breathable
Fiber – natural or manmade
Strong, flexible
Fur
Soft, flammable, warm
Glass
Scratchable, brittle
LeatherFlexible, soft, durable, strong
Metals – aluminum, copper, gold, iron, silver,
titanium, zinc
Fusible – tavitelný, glossy, durable, waterproof,
scratchable, heat and flame resistant
PaperFlammable, recyclable
PlasticFlammable, recyclable
Plaster/gypsum
Hard but scratchable
Plywood – překližka
Flammable, recyclable
Rubber
Elastic, malleable, durable, flexible
Sand
Soft, loose – sypký
Silicone
Soft, durable, malleable, waterproof, flexible
Wax
Soft, malleable
Wood
Hard, Flammable, recyclable
Playing with unusual materials
Playing with unusual materials is an old concept often utilized in postmodern art. Ask if anybody followed
the event with Lady Gaga. Can any students recognize the artwork presented here by Meret Oppenheim?
(Artwork from 1936, Fur-covered cup, saucer and spoon, MOMA, New York)
Making a meat dress is a reaction to a surrealistic concept used in visual arts in 1930’s that can be
often found in postmodern art. Making a cabbage dress was a reaction from a vegetarian group to Lady
Gaga dressing up in meat. In fact, any material students can name has probably been used in modern
23 Be creative
3D design. As long as the product keeps its original purpose, the answer should be accepted. Lesson 4 from
winter semester has some more information on this topic. Students should be able to refer to it. Preferably,
set the revision for homework beforehand.
2 Some suggested ideas that can sound usual and unusual:
Shoes Leather, paper, wood, metal, bamboo, fur, silicone
a dress
Metal sheets, newspaper, paper, leather, fabric a door stop
Wool, foam, glass, fur, silicone, wood, fabric
a chair
a tent
Foam, fabric, metal, wood, bamboo, paper, plastic
Silk, linen, cotton, plastic, grass, wool, bamboo, leather
a building
Brick, bamboo, ceramic, plywood, wood, gypsum, rubber,
leather, plastic, sand, metals, paper, fabric
a tablecloth
Textile, plastic, natural and manmade fiber,
a book
Paper, leather, plastic, textile, wool, cotton
a light shade
Paper, glass, any fabric, leather, fiber
a book shelve
Bamboo, brick, ceramics, clay, concrete, wood, glass, leather, plastic
paper, cardboard, rubber, plaster, wool
SOURCES
http://www.toxel.com/inspiration/2009/05/06/school-of-art-and-design-creativity-test/
http://www.embryo.ie/glo/
The following art show from 2008 was designed to work with the idea of ”meat art”.
http://www.eatmedaily.com/2008/10/meat-after-meat-joy-art-gallery-show/
http://gomestic.com/cooking/food-fashion-trendy-or-tasty/
http://www.englishclub.com/vocabulary/phrasal-verbs-list.htm
Websites listing vocabulary related to shoe and fashion design:
http://www.apparelsearch.com/definitions/Definition_List_Fabric.htm
http://www.apparelsearch.com/definitions/Clothing/footwear_definition.htm
http://phrontistery.info/fabric.html
Panamericana School of Art and Design
http://creativecriminals.com/print/panamericana-school-of-art-and-design-pencil-pen/
Johan Kramer
http://vimeo.com/johankramer
Meret Oppenheim
http://www.all-art.org/art_20th_century/oppenheim1.html
Name 2D shapes – worksheet
http://www.teachingideas.co.uk/maths/shapes.htm
24 Putting bricks together
SAMPLE TOPIC
Architecture prize winner Zaha Hadid and the profession of an architect in general.
TIME
90 min
AIMS
Vocabulary development, listening for a specific information, extended reading and speaking from the field
of architecture.
MATERIALS
PREPARATION
Distribute Worksheet C as homework (to be set the lesson BEFORE this one). Students prepare for the
speaking part of the exercise at home by chosing one of the projects that were were initiated as RIBA
Competitions on the webpage provided in the worksheet. Ask them to find out more about the chosen
project elsewhere and make notes in the table provided.
PROCEDURE
1 Warm up: Write Zaha Hadid on the whiteboard and elicit from the students if they know her and/or the
Stirling prize.
Note: The RIBA Stirling Prize is the UK’s most prestigious architecture prize. Every year it is presented to
the architects of the building that has made the greatest contribution to the evolution of architecture in the
past year. The prize is for projects ‘built or designed in Britain’. Buildings are eligible if they are in the UK or
European Union by an architect whose head office is in the UK.
Distribute Worksheet A, Speaking and let the students work in pairs/gorups. Monitor and check the answers/
ideas as a whole class.
2 Continue with the deatils of the profession, starting with Wright’s quote. Discuss the quote, eliciting
from the students their opinion on an architect’s job. Proceed to Word Power where students match the
professions with their responsibilities.
Answers: 1B 2A 3D 4F 5C 6E.
Note: Possible follow-up discussion on the aspects of each job, depending on your students’ specialisations.
24 Putting bricks together
3 Tell the students they are going to listen to the description of a building that has won the prestigious RIBA
Stirling Prize 2011 and decide if the statements are True or False. Ask them to read the statements first.
Play the video - available here:
http://www.architecture.com/Awards/RIBAStirlingPrize/RIBAStirlingPrize2011/RIBAStirlingPrize2011videos.aspx#eve
Answers: 1 T /2 F/ 3 T/ 4 T/ 5 F/ 6 F/ 7 F
4 Distribute Worksheet B only after you have finished the previous listening exercise. Students work
individually filling in the gaps with the words provided. The texts describes the same building as the previou
listening exercise so the students will be familiar with the overall idea of the article. When they have finished
they check their answers with their neighbour.
Answers: 1 cutting-edge 2 prestigious 3 brief 4 unity 5 stylized 6 box 7 inventive 8 lacked 9 distinguished
10 stretches 11 bridges 12 height 13 housing 14 terraces 15 architecture 16 utility 17 atrium 18 lit 19
divided 20 run
Note: “think outside the box”= think differently, creatively, unconventionally or from a new perspective
5 Continue with students’ homework: Worksheet C. Students work in groups or pairs introducing the
chosen project to each other.
Follow-Up
You may expand the lesson by a discussion based on the following links:
http://www.architectsjournal.co.uk/reaction-to-hadids-stirling-prize-win-there-was-a-collective-groan/8620620.article
The decision to give RIBA Stirling Prize to Zaha Hadid’s Evelyn Grace Academy is met by shock, surprise
and even anger.
http://www.architecture.com/Awards/RIBAStirlingPrize/RIBAStirlingPrize2011/RIBAStirlingPrize2011-publicvote.aspx
Public vote and discussion about RIBA Stirling Prize 2011.
Students can suggest (and defend their choice of) an interesting building or structure to be the next model
in the LEGO Architecture series.
http://architecture.lego.com/
http://www.worldarchitecturenews.com/ » podcasts
SOURCES
http://www.architecture.com/
http://www.architectmagazine.com/
http://www.worldarchitecturenews.com/
http://architecture.lego.com/
http://www.architectsjournal.co.uk/
Consolidation
SAMPLE TOPIC
AIMS
To revise student’s content and language knowledge from both parts of the course.
General preparation for the spoken and written exam.
MATERIALS
PREPARATION
Set the first exercise from EXAM PRACTICE: SPEAKING as homework one lesson BEFORE this one.
PROCEDURE
This final part of Teacher’s notes suggests revision activities for your class.
1 Worksheet A : Start the lesson with students’ presentations of their recent work. Monitor the groups.
2 Remind the students about a speaking exercise from the previous semester (see lesson 4 Materials)
Students work individually working on at least two new topics; then they work in pairs according to the
instructions in their worksheets. You may speak first – setting an example, making it sound like improvising,
thus encouraging students to speak. Monitor and provide help if necessary.
3 Continue with Exam practice: Written test
Ask the students to create as many test questions based on the course as possible. Motivate them by promising that some of the questions will actually appear in their final test providing they are correct and of an
appropriate level. Students work in groups creating the questions then they work with another group testing
each other. Monitor and do not forget to collect the best test questions.
The rest of the worksheets can be done as homework depending on your time; Test yourself I covers the first
part of the course, Test yourself II the second one. Correct answers are provided at the end of every exercise.
Follow-Up
Some tips for further practice/discussion:
http://www.guardian.co.uk/artanddesign
Browse the themes or talks; example:
http://www.ted.com/
http://www.ted.com/talks/suzanne_lee_grow_your_own_clothes.html
Designer Suzanne Lee shares her experiments in growing a kombucha-based material that can be used like
fabric or vegetable leather to make clothing.
Consolidation
http://www.macmillanglobal.com/elessons/lesson-plan-67-street-art
Free eleson about street art and graffiti.
http://www.macmillanglobal.com/elessons/lesson-plan-37-artist-unknown
Free eleson about a talented artist who was discovered at the age of 73. It also touches on the issue of
gaining public recognition.
http://www.macmillanglobal.com/elessons/lesson-plan-34-the-fourth-plinth
Free eleson about an unusual art project in London in which contemporary artists were invited to create
works of art for an empty plinth in Trafalgar Square.
http://www.macmillanglobal.com/elessons/lesson-plan-9-the-world%E2%80%99s-newest-landmark
Free eleson about the world’s tallest building, the Burj Khalifa, opened in Dubai in January 2010.
Název
Autorky
English for Art, Design and Multimedia
Teacher’s notes
Grafika
Ludmila Dvořáková
Vydavatel
Vydání
Vyšlo
Univerzita Tomáše Bati ve Zlíně
Fakulta multimediálních komunikací
Hana Atcheson, Helena Janasová,
Tereza Skořepová
první
2011
Publikace neprošla redakční ani jazykovou úpravou.
ISBN 978-80-7454-120-9

english for art, design and multimedia - english4art

Transcription

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