# Ten opening studio scripts · 25 minutes each

Every session is **2 + 4 + 5 + 7 + 4 + 3 = 25 minutes**. Prepare [original A–F stimuli](STIMULUS-CARDS.md), a plain pencil and paper, [six original aids](print/TEXT-ALTERNATIVES.md), the [learner desk](LEARNER.md) and the day's [three same-target routes](DAILY-CHOICES.md). Use a clean folded scrap prop only if useful; every task has an original printed and text/tactile route. Do not ask students to photograph people, disclose personal history, copy a contemporary artist or create a culturally coded motif. Use new G/H sheets only on check days. Seven minutes for an independent check response is an initial evidence window; continue or extend locally without penalising pace. The key is public and [separate](teacher/ANSWER-AND-NEXT.md).

### Day 1 · See it, then say what you think

**Target:** distinguish direct observation of an object from a viewer's inference and start one original visual response. **Prepare:** A, observation-window aid, paper/pencil.

1. **Launch · 2 min.** Show the unmarked folded card or original aid. Ask for one thing everyone can locate, without naming a feeling.
2. **Model · 4 min.** Point to its rectangle, diagonal fold and triangular flap. Draw those three observed features slowly. Then label “it feels cautious” as a personal interpretation, not a fact in the object.
3. **Guided looking · 5 min.** Learners name two visible features and one possible inference, using “I read it as…” for the latter. Another viewer may differ. Record both without judging a feeling as wrong.
4. **Practice route · 7 min.** Choose Day 1 route: make an original thumbnail of A plus two observation labels and one clearly marked interpretation.
5. **Audit · 4 min.** Peer says “the card is sad.” Ask what visual feature could prompt that reading and how to phrase it as a viewpoint rather than evidence.
6. **Exit · 3 min.** “What separates an observed diagonal from an audience reading of it?” Expected: the line can be located; meaning is interpreted and justified.

### Day 2 · Move the viewpoint

**Target:** show how changing position changes what is visible while keeping the same physical object. **Prepare:** A/B, observation-window and crop-window aids.

1. **Launch · 2 min.** Ask whether a front view and a low side view can both describe A accurately.
2. **Model · 4 min.** Turn the paper prop or indicate two original views in the aid. Sketch full front silhouette, then a lower angle that emphasises the fold's thickness. Label viewpoint; do not claim one view is the whole object.
3. **Guided looking · 5 min.** Ask what becomes hidden, enlarged or newly visible. Use words `front`, `side`, `near`, `far` and one visual-language term such as line or shape.
4. **Practice route · 7 min.** Choose Day 2 route: produce two small views of A and annotate one changed feature and one stable feature.
5. **Audit · 4 min.** Repair “the object changed shape” when only the viewpoint changed. Identify any genuine paper fold separately.
6. **Exit · 3 min.** “What would a viewer miss from your chosen view?” Expected: a bounded missing feature, such as the rear fold or lower edge.

### Day 3 · Let line carry a choice

**Target:** test two line treatments on the same observed contour and explain their different emphases. **Prepare:** A/C, line-lab aid, pencil.

1. **Launch · 2 min.** Show a continuous and broken original contour of A. Ask what differs before asking for meaning.
2. **Model · 4 min.** Trace the fold once with a continuous thin line, then with short repeated marks. Keep the same observed diagonal; vary the mark, not the source. Say “the repeated marks draw my attention to the fold,” an intention, not a guaranteed audience response.
3. **Guided looking · 5 min.** Learners identify line length, spacing, density and contrast, then suggest one possible reading for each with evidence.
4. **Practice route · 7 min.** Choose Day 3 route: make two labelled mark trials and explain which better directs attention to the fold and why.
5. **Audit · 4 min.** Ask whether “interesting” identifies an actual visible choice. Replace it with `closely spaced short marks near the diagonal`.
6. **Exit · 3 min.** “Name a mark decision and the feature it emphasises.” Expected: specific line evidence, not a generic preference.

### Day 4 · Crop without pretending it is the whole

**Target:** create and justify a crop that alters emphasis while acknowledging what it excludes. **Prepare:** A/B, crop-window aid, movable blank-paper frame.

1. **Launch · 2 min.** Cover the lower half of A. Ask what the viewer sees now and what has disappeared.
2. **Model · 4 min.** Move a rectangular window toward the diagonal. Draw one full-view and one cropped thumbnail. In the crop, enlarge the blank area as an intentional composition choice.
3. **Guided looking · 5 min.** Compare balance and emphasis. Ask how a tight crop can invite attention to a fold but remove scale and context; neither claim is certain for every audience.
4. **Practice route · 7 min.** Choose Day 4 route: make two crop options, select one, and explain a visible gain and a visible loss.
5. **Audit · 4 min.** Repair “the close crop proves the object is tiny.” A crop alone removes size evidence.
6. **Exit · 3 min.** “What information did you leave outside your frame?” Expected: a named edge, flap or size cue.

### Day 5 · Fresh public Check A: paper arch

**Target:** independently use observation, viewpoint/line and a bounded audience claim with [new File G](STUDENT-CHECKS.md#day-5-check-a--paper-arch-file-g). **Prepare:** original fresh G SVG/PDF or its text/tactile equivalent; paper/pencil and neutral support log.

1. **Launch · 2 min.** Explain that a new invented form is the whole evidence base; there is no one required “style.”
2. **Source access · 4 min.** Provide G, enlarge/read its exact description neutrally if requested, without suggesting a crop or meaning.
3. **Independent plan · 5 min.** Learner identifies two observable features and chooses a visual decision.
4. **Independent response · 7 min.** Select Day 5 route and retain first visual + explanation before content hints.
5. **Self-audit · 4 min.** Learner labels an observation, a chosen alteration, one possible interpretation and a limitation.
6. **Submit · 3 min.** Collect art and support log. Use the public key to choose the next teaching move, not a QCAA unit result.

### Day 6 · Let the material answer back

**Target:** compare a flat pencil mark with a low paper relief and document how the medium changes attention. **Prepare:** A/C, material-test aid, clean torn blank strips, no sharp tools.

1. **Launch · 2 min.** Ask whether a raised fold casts/shapes space differently from a pencil line. Do not promise a specific shadow under every light.
2. **Model · 4 min.** Place a torn strip along A's diagonal and lift one edge; make a second, flat pencil line. Name actual texture/height/edge differences. Do not copy a gallery sculpture or use found personal materials.
3. **Guided looking · 5 min.** Learners test which version makes the fold easier to locate by sight or touch and record where their own perception differs. Keep paper/clip handling school-safe.
4. **Practice route · 7 min.** Choose Day 6 route: make two tiny trials, one flat and one low relief or tactile-equivalent, and state a material cause for an effect.
5. **Audit · 4 min.** Repair “paper is better” with a specific visible/tactile feature and intended meaning. A different audience reading is allowed.
6. **Exit · 3 min.** “What did the medium change that the outline alone did not?” Expected: height, edge, texture, shadow possibility or handling, tied to evidence.

### Day 7 · Research a source; keep your own voice

**Target:** separate institutional catalogue fact, gallery interpretation and student's own looking/decision. **Prepare:** [QAGOMA source slot](ARTIST-SOURCE-SLOT.md), A/F, source-log card; school-approved browser or offline fact capsule.

1. **Launch · 2 min.** Ask who owns a gallery image found online. An institutional webpage does not grant a blanket reuse licence.
2. **Model · 4 min.** Cite Koji Ryui, *Petit pois #2* (2022), QAGOMA publisher, and the catalogue's sculpture medium, without displaying the image inside our aid. Mark “draws attention to ordinary materials” as QAGOMA's interpretation, not a command to imitate.
3. **Guided looking · 5 min.** If lawful access exists, open the official page; otherwise read the capsule. Learners sort creator/year/medium, institutional interpretation and an unanswered question. Discuss what requires the artist's own account or direct viewing.
4. **Practice route · 7 min.** Choose Day 7 route: make a short source log and choose a **different, original** decision for A, such as increasing the blank field. Explain why this is independently derived from A.
5. **Audit · 4 min.** Repair “I can trace that image because I cited it.” Attribution is not reuse permission; cite research and keep the visual response original.
6. **Exit · 3 min.** “Whose claim is the medium list? Whose decision is your crop?” Expected: QAGOMA catalogue fact; learner's own visual choice.

### Day 8 · Reduce while keeping an evidence trail

**Target:** transform a figurative observation of A into a more non-figurative response and justify what trace remains. **Prepare:** A/D, abstraction-ladder aid.

1. **Launch · 2 min.** Ask whether a diagonal alone lets every viewer recognise a folded card. It may not.
2. **Model · 4 min.** Make three original stages: recognisable silhouette, simplified long edge/diagonal/flap, and a field with directional diagonal only. Name reduction and intentional distortion; do not label any stage automatically “better.”
3. **Guided looking · 5 min.** Find the observed trace at each stage. Discuss how changing scale or blank space changes a possible reading while source recognition decreases.
4. **Practice route · 7 min.** Choose Day 8 route: make two transformations and annotate observation, removed feature, retained trace, intended emphasis.
5. **Audit · 4 min.** Repair “abstract art has no source.” In this case the source and decisions can be documented even if the result is hard to recognise.
6. **Exit · 3 min.** “What remains of A in your least recognisable version?” Expected: a named formal trace with a reason.

### Day 9 · Sequence, select, and leave a trail

**Target:** use a three-frame sequence and a small folio note to communicate one viewpoint and a next experiment. **Prepare:** A/E/F, sequence-board aid and three earlier thumbnails.

1. **Launch · 2 min.** Ask whether changing frame order changes what a viewer notices first.
2. **Model · 4 min.** Order `full card → fold close-up → low-edge view`. Under it write `observed diagonal → tighter crop → possible attention to fold → test wider frame`. Name the response a storyboard plan, not a finished video.
3. **Guided looking · 5 min.** Compare two orders and one selected earlier experiment. Ask what evidence supports the claimed viewpoint, what a viewer might read differently, and which source (if any) was consulted.
4. **Practice route · 7 min.** Choose Day 9 route: create/reorder three frames, select one earlier trial and complete F's four-part folio note plus citation if QAGOMA was used.
5. **Audit · 4 min.** Repair “this is my final folio.” It is a trace of three experiments and a next step; Unit 1 needs sustained inquiry and artist research.
6. **Exit · 3 min.** “Which frame or material choice would you test next and why?” Expected: a concrete test tied to intended meaning.

### Day 10 · Fresh public Check B: stepped paper

**Target:** independently create and justify a small lens sequence from [new File H](STUDENT-CHECKS.md#day-10-check-b--stepped-paper-file-h), reflecting on evidence and source boundaries. **Prepare:** original fresh H SVG/PDF or exact text/tactile equivalent; blank sequence and process log.

1. **Launch · 2 min.** Explain that H is new, original and fictional; a different visual solution can be well justified.
2. **Source access · 4 min.** Give H only; read/describe its features neutrally without offering an interpretation.
3. **Independent plan · 5 min.** Learner chooses two observable features, two lenses and a three-frame order.
4. **Independent response · 7 min.** Select Day 10 route; retain initial visuals and explanation before content prompts.
5. **Self-audit · 4 min.** Learner checks observation versus inference, named choices, likely audience reading, limitation and next test.
6. **Submit · 3 min.** Collect work and support log. Use separate public key as formative feedback; school sets its own unit assessment.

SubjectNest original teacher scripts © NeuroForgeIO Pty Ltd 2026, [CC BY 4.0](https://creativecommons.org/licenses/by/4.0/).