# Foundation Visual Arts · Term 2 Weeks 11–12 · Days 51–60

Ten teacher-run **25-minute** sessions. Every day is **welcome 3 + model 4 + together 5 + child choice 7 + notice 4 + close 2**. Read the quoted child language. Choose any of the [three same-goal routes](LEARNER-CARDS.md) and switch routes during the lesson. The [eight A4 aids](print/TEXT-ALTERNATIVES.md) have exact read-aloud, fixed-tactile and no-material routes. The [optional offline composition board](digital/README.md) is another way to compare placement, never a requirement. Children need no screen, colour recognition, counting fluency, physical mark or public share to make an art decision. Log **plan only** unless an artwork was actually made; log actual marker, placer and support.

This fortnight asks what **scale, direction and placement** do for an original picture, then how two willing makers could compose a shared page. The ten broad marks are a **given art source**, not proof a child can represent ten. Integrated [Week 11](../../../term-2/week-11-ten-ways-to-see.md) and the [maths pack](../../../mathematics/term-2/weeks-11-12/README.md) handle ten, its parts and useful counting tools. Integrated [Week 12](../../../term-2/week-12-sharing-tools-and-space.md) and HPE handle permission and shared-space routines. The Visual Arts question is a child-authored visual choice with a reason. No fictional partnership is reported as real collaboration, no planned viewer as a real audience, and no imagined art as a real maker work.

## Week 11 · Day 51 · Same pieces, different whole

**Goal/codes:** explore how placement can make the same broad marks form different whole shapes; AC9AVAFD01. **Prepare:** [ten-mark layouts](print/ten-mark-layouts.pdf) or exact description; optional large fixed paper shapes.

1. **Welcome · 3 min.** “Last term we chose two clues and revised a picture. Now we can move the *whole* idea around. What changes when marks spread or come close?”
2. **Model · 4 min.** Show ten teacher-made broad square marks twice: a wide band and a tall band. Say “the supplied set is the same; the whole outline changed.” Count is given, not quizzed here. Do not say which viewers universally prefer.
3. **Together · 5 min.** Child finds the wide and tall whole by sight, exact reading, AAC, or adult-described fixed shape. Ask where the edge of each whole lies and what kind of imagined scene each could suggest.
4. **Child choice · 7 min.** Child makes/directs/describes two arrangements of the **same supplied set** for an invented bookshelf, train of paper squares, tower garden or own harmless place. They choose one for an art idea and name one visible difference. Adult may prepare or handle all marks.
5. **Notice · 4 min.** Record child-selected arrangement/reason and actual marker/placer. If a mark is missing, adult can supply a consistent set; the art observation is about placement, not independent counting.
6. **Close · 2 min.** “My whole picture is ___ because the marks sit ___.”

## Week 11 · Day 52 · One part can be large

**Goal/codes:** try scale contrast within a supplied set to direct attention to a chosen part; AC9AVAFD01 and AC9AVAFC01 if child creates. **Prepare:** [one large mark](print/one-large-mark.pdf), blank page.

1. **Welcome · 3 min.** “A mark can be bigger or smaller. We can choose which part we hope someone notices.”
2. **Model · 4 min.** Read the invented ten-disc page: nine small discs and one large disc. Show a second teacher option with all ten the same size. Name a **scale choice**, not a measurable viewer result or number achievement.
3. **Together · 5 min.** Child identifies the large disc through visual, exact spoken size/position, or broad fixed outline. Ask what part they might enlarge for a different art purpose; accept leaving all equal if reasoned.
4. **Child choice · 7 min.** Child draws/directs/describes two size plans for an invented space harbour, game board, paper orchard or own context. They choose a focal part and decide larger, smaller or intentionally equal sizes. They may keep the supplied count through adult assistance without being assessed on it.
5. **Notice · 4 min.** Record first and chosen size plan and child's reason. If no physical work was made, log plan only. If a willing viewer later responds, note exact route separately.
6. **Close · 2 min.** “I made/kept ___ large/small because ___.”

## Week 11 · Day 53 · Turn the whole page

**Goal/codes:** explore how orientation changes an intended visual reading of an invented composition; AC9AVAFD01. **Prepare:** [turning page](print/turning-page.pdf), or precise description; no child movement needed.

1. **Welcome · 3 min.** “A page can be tall or wide. We can turn a picture in our mind even if we do not move the page.”
2. **Model · 4 min.** Show the same three wide arches in a tall frame and a wide frame; the marks stay in order, but their surrounding page changes. No path arrows, counting lesson or fixed meaning is supplied.
3. **Together · 5 min.** Ask child which frame gives the arches more space to the sides; demonstrate by reading dimensions/edges exactly or using an approved fixed tactile frame. A child may choose either for a reason.
4. **Child choice · 7 min.** Child chooses a page direction for a fictional hill shelter, long toy boat, garden arch or own idea. They make/direct/describe a tall and a wide version using the same main mark, then choose one for their intended image. If no page is turned, describe both accurately.
5. **Notice · 4 min.** Record orientation, visible position/space difference and reason. Do not score bodily rotation or motor control. If child says both work, ask which viewer purpose each could serve.
6. **Close · 2 min.** “I chose a tall/wide page because ___.”

## Week 11 · Day 54 · Make an original whole image

**Goal/codes:** combine placement, scale and page direction for one child-authored art idea; AC9AVAFD01 and AC9AVAFC01 if made. **Prepare:** [composition canvas](print/composition-canvas.pdf), [art/maker record](print/art-maker-record.pdf).

1. **Welcome · 3 min.** “You can choose one big decision today: where marks sit, how big one is, or which way your page goes.”
2. **Model · 4 min.** On unrelated spare paper, describe a fictional paper ferry with a low wide hull and one large round window. Say “this is the adult's idea, not yours and not a real ferry.”
3. **Together · 5 min.** Child changes one adult model feature and tells what new whole picture it could make. Adult follows their directions without saying there is one best layout.
4. **Child choice · 7 min.** Child makes/directs/describes an original image with a chosen whole shape, one scale or orientation decision, and a reason. An optional supplied set of ten broad marks links to Week 11, but another number of marks is fine for this Visual Arts goal. The maths teacher separately observes quantity.
5. **Notice · 4 min.** Record the actual art decision, intention, source status and maker/support. Ask which part is their own choice rather than attributing the teacher's model to the child.
6. **Close · 2 min.** Child chooses private storage, later willing show or discard of a practice plan.

## Week 11 · Day 55 · Fresh Check S

**Goal/codes:** independently propose two compositions from a new supplied fictional set and choose one for an art purpose; AC9AVAFD01 and AC9AVAFC01 if made. **Prepare:** [Check S](STUDENT-CHECKS.md#check-s--day-55--imaginary-paper-orchard), [large A4 sheet](print/check-s-orchard.pdf); keep [educator key](teacher/KEY-AND-NEXT.md) closed.

1. **Welcome · 3 min.** “This is a new made-up art source. Show two different whole pictures, then choose one and tell why.”
2. **Model access · 4 min.** Read the supplied set and blank idea spaces. Demonstrate how to point, direct, sign, AAC or dictate on unrelated paper; do not arrange the held discs.
3. **Independent plan · 5 min.** Child chooses two placements, sizes or orientations for the same set. Adult may offer a fixed set of ten but does not choose the composition.
4. **Child response · 7 min.** Child shows/describes both, selects one, names intended whole picture and a visible difference. A child can direct adult placement; record handler.
5. **Self-check · 4 min.** Ask neutrally “What stayed from the source? What changed between your two ideas?” Save first response before opening the key. Do not turn this into an independent ten-count test.
6. **Close · 2 min.** Record source fiction, access and next teaching move after key review.

## Week 12 · Day 56 · Two makers, two choices

**Goal/codes:** identify possible visual contributions and authorship on a shared page; AC9AVAFD01. **Prepare:** [two-maker page](print/two-maker-page.pdf), exact reading.

1. **Welcome · 3 min.** “A shared picture can hold more than one person's mark. We must know whose choice is whose.”
2. **Model · 4 min.** Use two invented makers: Ari offers one broad arch; Bo offers a row of small bars. Place them on a **fictional** practice page, saying each maker's contribution. No real child has agreed to share a page.
3. **Together · 5 min.** Child names what Ari and Bo each contributed via looking, reading, fixed outlines or AAC. Ask what either maker would need to ask before changing the other's mark. Use the school's real permission language in the integrated HPE block.
4. **Child choice · 7 min.** Child suggests a placement for both makers' distinct marks and one art idea they could form together. Draw, direct or describe; they may refuse a physical shared page. An adult does not assign a child another's authorship.
5. **Notice · 4 min.** Record who proposed which element and whether this was a fictional plan or actual willing collaboration. A role-play reply is not evidence a real peer gave permission.
6. **Close · 2 min.** “My contribution would be ___; the other maker's would be ___.”

## Week 12 · Day 57 · Place contributions without erasing one

**Goal/codes:** propose two placements of a pair of maker contributions for different whole pictures; AC9AVAFD01/AC9AVAFC01 if a work is made. **Prepare:** [two-maker page](print/two-maker-page.pdf), [art/maker record](print/art-maker-record.pdf).

1. **Welcome · 3 min.** “Both makers should be able to point to their choice. We can move an offered mark only with agreement.”
2. **Model · 4 min.** On an adult fictional page, put Ari's arch above Bo's bars, then beside them. Say the maker labels stay, while the whole composition changes. Do not claim one placement is fairer or easier for everyone.
3. **Together · 5 min.** Child describes the two placements and names one difference in the whole image. In a no-material route, adult speaks positions while child chooses.
4. **Child choice · 7 min.** Child invents two original mark contributions for fictional makers or proposes to a willing real partner. They make/direct/describe two placements, select one for an intended idea, and keep authorship distinct. If a real partner declines, use fictional practice with no negative score.
5. **Notice · 4 min.** Record choice and reason; if real, separately record actual agreement and each maker's contribution. If no one else made/approved a mark, do not call it collaborative art.
6. **Close · 2 min.** “I chose ___ beside/above ___ because ___.”

## Week 12 · Day 58 · A shared image, if both makers agree

**Goal/codes:** make or direct a genuinely co-authored image with consent if possible, or develop the equivalent fictional composition plan; AC9AVAFD01 and AC9AVAFC01 according to observed action. **Prepare:** [composition canvas](print/composition-canvas.pdf), [art/maker record](print/art-maker-record.pdf), local material and consent check.

1. **Welcome · 3 min.** “You may choose to make a shared page, make your own page, or plan with fictional makers.” No child owes a personal tool, mark or body space to another.
2. **Model · 4 min.** Adult offers two broad marks on separate paper; ask “May I place mine beside yours?” Model accepting “no/not now” and choosing separate paper. Follow school safeguarding policy for real situations.
3. **Together · 5 min.** With a puppet or adult, rehearse a *visual* request: “Where could my mark go?” and a reply. No rehearsal is recorded as a real peer's permission.
4. **Child choice · 7 min.** Willing makers each choose their own mark and agree on placement before touching a shared page; or a child makes a solo version; or gives an exact fictional plan. Optional low-preparation broad paper and dry marks only, adult controls cutting/placement as needed. The child can change or withdraw consent.
5. **Notice · 4 min.** Record each actual maker, placement agreement, visual choice and who handled materials. A solo or fictional work is valuable Visual Arts evidence but is not reported as co-authorship. Do not turn permission into an art neatness score.
6. **Close · 2 min.** Ask each willing maker if the page may be kept or shown; default to private storage.

## Week 12 · Day 59 · Real art, intended viewer, actual share

**Goal/codes:** respond to a real cleared artwork's documented role and optionally share a child's original art; AC9AVAFE01/AC9AVAFP01 **only if those events occur**. **Prepare:** [authentic source/audience gate](AUTHENTIC-SOURCE-SLOT.md), [art/maker record](print/art-maker-record.pdf).

1. **Welcome · 3 min.** Offer looking, exact description, sign/AAC, quiet/private encounter or pass. No one must reveal family/cultural identity or personal access needs.
2. **Model · 4 min.** If school-cleared work and documented maker/purpose are present, name the maker and source-stated importance to particular people. Otherwise say the real encounter is held and use only the explicitly fictional two-maker page. No real-art code on fallback.
3. **Together · 5 min.** Ask what is visible versus what a maker/authorised source actually says. Do not infer community meaning from shape, number or placement, and do not reproduce restricted motifs.
4. **Child choice · 7 min.** Child responds specifically to real work if encountered. Separately, they may choose to show their own art to an actual willing teacher/peer or keep it private. Collect exact viewer action/reply only if sharing happened. An intended viewer is not an audience event.
5. **Notice · 4 min.** Record source/rights/context/child response and actual share/consent separately; mark absent events **not observed**. Protect names and work under school policy.
6. **Close · 2 min.** Thank the child for their art decision, whether shared or private.

## Week 12 · Day 60 · Fresh Check T

**Goal/codes:** independently compose a new fictional shared page from two attributed contributions and choose a placement for a whole art idea; AC9AVAFD01 and AC9AVAFC01 if made. **Prepare:** [Check T](STUDENT-CHECKS.md#check-t--day-60--imaginary-puppet-workshop), [large A4 sheet](print/check-t-puppet.pdf), key closed.

1. **Welcome · 3 min.** “Two made-up makers offered different marks. You decide two possible shared pictures and choose one. No real partner has agreed yet.”
2. **Model access · 4 min.** Read source and blank spaces only. Show drawing/direction/AAC response on unrelated spare paper without offering a source layout.
3. **Independent plan · 5 min.** Child chooses two distinct ways to place the two attributed marks, keeping both identifiable. Adult may read the source again without suggesting position.
4. **Child response · 7 min.** Child makes/directs/describes two options, selects one, names the whole idea and why, and says what a real maker would need to agree before a physical shared page. Record maker/handler or plan only.
5. **Self-check · 4 min.** Ask “Which mark came from each fictional maker?” and “How are your options different?” Save first response before corrective teaching or key.
6. **Close · 2 min.** Keep Visual Arts placement reasoning separate from HPE's actual permission behaviour and any real peer collaboration.