Source review on 29 September 2026: the official QCAA Visual Art 2025 v1.3 PDF, January 2026, identifies Unit 1 as Art as lens, with areas of study rather than a Topic 1 (printed pp 22–26). The QCAA landing page shows v1.3 as current. The QAGOMA collection record names Koji Ryui, Petit pois #2 (2022), sculpture medium and artist copyright. Our source capsule uses short paraphrased metadata, not the image or distinctive composition. We cannot infer an artist's unquoted intention from a gallery description.
Seat 1 · teacher arriving with five minutes
Open Day 1 and the observation-window PDF. Prepare one blank folded card, plain pencil and paper. A's printed original line drawing covers a room without props. The teacher can model “rectangle, diagonal, flap” as visible and “cautious” as a possible reading. The six 25-minute stages specify what to say, see, make and collect. A worked optional swap supports a longer block. On check days, reveal the fresh G/H sheets only with their student page and keep the public key away until first responses. Neutral reading/tactile layout is access support; suggesting a crop is a content prompt and belongs in a log.
Seat 2 · learner/art-maker/audience
Follow Day 4: place a frame over the original card, make a full view and a close crop, then write or dictate “I enlarged the fold; I lost the opposite edge and true scale.” This is a meaningful choice even if the student does not make an emotional claim. The crop-window diagram shows an original image and a different original crop; the exact-text alternative says what appears and what is outside. A tactile frame over raised straight/diagonal strips preserves the same observation, choice, gain/loss and evidence. Reading or handwriting ability is considered separately from visual-art reasoning. The learner can keep personal context fictional, use quiet text, or decline any personal explanation.
Fresh Check A uses a new arch, not the practice folded card. The model response uses visible curve/uprights/opening, a purposeful crop/line change, a possible audience reading and a limit. Fresh Check B uses new stepped tabs, asks for a three-frame transformation plus process trace, and tests the difference between attribution and permission to republish an artist image. A different original artwork and viewpoint can satisfy the same evidence. The key gives criteria and one worked exemplar, not an aesthetic ranking of students.
Seat 3 · assessor or potential funder
Defensible output: ten original 25-minute scripts, 30 same-target routes, 20 worked supplementary swaps, 20 context bridges, two fresh public formative checks with separate worked feedback, six original A4 looking/making aids, two original A4 check stimulus sheets, searchable PDFs and exact text/tactile descriptions. The media ledger records why QAGOMA's work and QCAA pages are linked rather than redistributed. These outputs do not establish classroom uptake, learning gain, teacher time saved, cultural approval, QCAA endorsement, a completed Unit 1 folio or secure assessment. A full 55-hour unit still needs sustained artist research, multiple media, authentic experiences and school-designed assessment.
Mechanical, print and human limits
python3 verify_pack.py reads the pack and checks source/scope markers, ten six-stage timings, daily routes/swaps/bridges, check-stimulus isolation, local links, eight A4 vector semantics, searchable PDF text, exact-text alternatives and SHA-256 inventory. Intentional regeneration is python3 print/generate_print.py --write, followed by visual page inspection and python3 verify_pack.py --write-manifest. A mechanical pass cannot judge every student's response, accessibility in a real room, fine-motor burden, live gallery rights or whether a visual choice communicates as intended. Teacher classroom pilot and learner feedback are pending.