These are three ways to show the same daily evidence, not three difficulty tracks. Any student may mix visual, tactile, spoken, typed and quiet-text routes. Reading or handwriting ability is considered separately from observation and justification. A neutral scribe records a learner's art decisions verbatim. On fresh checks, record source reading/motor access separately from content coaching.
| Day | Looking/drawing route | Material/tactile route | Speak/type route |
|---|---|---|---|
| 1 | Draw A and label two visible features plus one “I read this as…” inference. | Trace A's long edge and fold with raised strips; position two observation labels and one inference card. | Describe two locatable features and dictate a possible reading, clearly marked as interpretation. |
| 2 | Sketch A from two viewpoints, circling changed visibility and underlining one stable feature. | Rotate a folded blank card or move tactile view cards, then mark changed/stable features. | Tell a scribe which feature is visible from each viewpoint and what remains the same. |
| 3 | Make continuous and broken-line trials on the same fold; annotate spacing/emphasis. | Lay one continuous string and short separated strips along the same diagonal; state different emphasis. | Dictate two precise mark recipes and explain which would direct attention to the fold. |
| 4 | Draw two crops of A, select one and name one visible gain and loss. | Slide a cut-free paper window over the original aid; record two positions by paper corners. | Describe two frame boundaries, choose one, and name what it reveals and hides. |
| 5 | With new G, make two lens thumbnails and observation/choice/possible reading/limit note. | Build/trace G's new arch with labelled strips and choose a raised/flat alteration; give the same note. | Dictate a precise two-view plan from G and the same observation, choice, reading and limit. |
| 6 | Compare pencil contour and torn-paper low relief, documenting a material cause. | Lay flat and lifted clean paper strips on A's diagonal; feel/locate the edge and explain effect. | Describe two material constructions precisely and why one changes attention; teacher records intent. |
| 7 | Read the QAGOMA record/capsule; sort fact/interpretation/question and draw an independent A choice. | Place three source-type cards, then arrange an original A crop with plain strips. | Dictate source facts with attribution and a new A decision; say why it does not imitate the artwork. |
| 8 | Make recognisable and reduced versions of A; annotate observed trace and removed detail. | Build one full silhouette and one reduced arrangement with neutral strips; label trace and removal. | Dictate two visual recipes from A, one figurative and one less so, plus the intended emphasis. |
| 9 | Draw three frames, choose order and write F's four-part folio trace. | Arrange three labelled view cards; select an earlier trial and place four process cards. | Dictate frame order and the four-part trace, adding a source citation if consulted. |
| 10 | With new H, make three-frame response, choose a lens, and justify observation/reading/limit/next test. | Arrange H's new shapes and three tactile frames; narrate same choices and evidence. | Dictate three-frame visual instructions and a complete process/meaning/limit/next-test note. |
No route asks for a diagnosis or promises that one mode uniquely suits a kind of learner. If a learner changes route, keep their first idea and continue the same target.