ROLE:

You are an experienced senior curriculum leader for art and design. You are also a senior examiner with a UK awarding body. You have served as a curriculum consultant at a national level in England. 

Give AI a role. This will inform the data-set that is drawn upon for the AI response. It narrows the training data to enable the AI programme to base its response on data which reflects relevant experience and expertise.

Ideas: Include experience teaching in another jurisdiction, such as Australia, to generate a new perspective?

Perhaps generate a more dramatic perspective by suggesting a role as the commander of a submarine, a nurse, a school student, an actor,  or a national politician.

CONTEXT:

I am the curriculum leader for art and design in a medium-sized urban school in High Wycombe in central England, which has been judged to be good by Ofsted. About half of our students come from the local Islamic community, which consists of immigrants from South Asia, particularly Azad Kashmir, Pakistan, and Bangladesh.  This community is well established and a longstanding feature of the area.

Give information about yourself and your context. This helps shape the response and also dismisses responses which are not relevant. However, teachers should not include information that might identify their school or students, and which might be used for AI training.

Ideas: Use this to describe you, your school and your students. This will enable the AI programme to tailor the response specifically to your circumstances.

Don’t give details such as the location of your school, such as High Wycombe, even if it is fictitious.

CONTEXT:

This curriculum unit is titled ‘Identity:. It does not meet the expectations of some of our students’ families, who are strict Muslims and do not believe they should depict realistic images of people. These are a minority of our students, but we wish to respect their beliefs and values. 

Give a lot of context information. The better this is, the more focused and relevant the response will be. 

Ideas: This example is about the students. It could be about the department’s teacher expertise, interests and experience, other curriculum responsibilities. 

It could be about the department’s facilities or aspects of prior learning.

REASON:

My colleagues and I wish to refresh a unit of our current Year 9 curriculum, which we feel is too bland and not in tune with the needs of all of our student population.

Explain the reason for the enquiry clearly. Explain why and what you are trying to accomplish. This will help shape the response and dismiss those responses that are not relevant. 

Ideas: Use this to focus on a specific group of students, such as the performance of boys or the need to differentiate further to boost the performance of the more able. 

Perhaps it could develop work for an event, museum, or a local industry.

REASON: BACKGROUND INFORMATION:

This unit is currently described in the Oak Curriculum plan as follows below:

[This unit explores portraiture’s power in expressing identity, culture, and belief. Pupils will study artists who challenge stereotypes and explore power, representation, and concealment. They will develop critical thinking while reinforcing respect, tolerance, and self-expression.

This unit builds on prior learning about identity and draws inspiration from the Equality Act 2010 and protected characteristics. Centered on British values, it fosters pupils’ understanding of their own identity and their right to self-identify, promoting tolerance and respect for diversity. The unit also enhances their art skills and critical thinking while introducing how artists explore identity and challenge stereotypes. It lays the groundwork for future discussions on identity, essential for their progression into GCSE, by scaffolding creative conversations around identity and diversity.]

Please ensure that the new units acknowledge the broad aims of this description. This will enable the new unit to replace the old unit ensuring curriculum continuity.

Give further details or examples about the context and nature of the issue. This could include uploading further or background text to give greater details and depth to the response.

Ideas: To illuminate the basis for the enquiry, you might wish to upload text which gives examples of writing, emails, news reports, curriculum aims, images, even.

NSEAD; This is where you would include text drawn from the NSEAD Big Landscape. In some AI programmes, it may be possible to insert the URL for the page (pages) that are in the public domain. In other programmes and for pages in the NSEAD members-only areas, it will be necessary to cut and paste, or paraphrase, the text.

AI programmes can absorb large amounts of text in this way. However, it is also possible to simplify some Big Landscape pages in a preliminary prompt which requires an AI programme to ‘synthesise the key points of this text into short paragraphs with sub headings’ or ‘create a bullet point list of the key elements of this text which will lead to curriculum improvement’.

This will enable the AI programme to better interpret your intentions and to reflect your aspirations.

Usually use [square brackets] for uploads. 

The AI programme will tend to give priority to instructions placed at the beginning or end of the uploaded material.

TASK:

We would like you to help us rewrite this curriculum unit by generating three alternative units of six lessons each. These will help our discussion and inform our options. The first unit should focus on alternative options for those students who would prefer not to use realistic images of people. The second unit should explore portraiture from south asian and indian cultures. The third unit should look at portraiture from across world cultures and civilisations.

This should be clear and specific.  The greater the clarity in this aspect of the prompt the easier it will be to use the response. In this case the AI programme is being asked to model three alternative units of work and to follow the lesson plan format below.

Ideas: It could be that the AI programme could be asked to generate a 1000-word essay on the reasons why some Muslims do not wish to produce realistic images and how Islamic art differs from Western art. This could conclude with five bullet points which give ideas for art teachers to adapt lessons. 

The AI programme can be told to show the reasoning which informs the response by adding a sentence in the prompt  like ‘Show step by step reasoning in this response.”

FORMAT SPECIFICS;
Each lesson is an hour long. The lesson plan should follow our normal format and use the following headings:Learning Objectives: 

Students will learn [about, how to, skills, behaviours of… etc]

Key Vocabulary:

Activity: [description]

Assessment for Learning: students can

Differentiation: 

• Students who have not progressed as far
• Students who have progressed further may

Resources: summary of materials and equipment/tools needed for the activities

Health and Safety Issues: Guidance to be brought to the attention of the learners

Most AI programmes which take on an educational role will have been trained to recognise and follow standard educational concepts and formats, such as lesson plans and programmes of study. It will be able to recognise professional jargon and generate objectives and assessment practices. 

It may require one or two attempts to ensure that the basic formatting of text is as required. Different AI programmes will process this differently. 

Ideas: Sometimes if you are generating a large amount of text, especially formatted as lesson plans, it is worth spending time doing a couple of trial runs with AI programme so that it generates a response which is appropriately formatted.  If you generate a lot of pages more time may be spent formatting than on the rest of the process put together.

STYLE:

[These prompts have not explicitly addressed the style of the response. However, the prompts have indicated that the audience is the teachers in the school’s art department. Though it is not clear if the AI programme has responded to this.]

It is useful to give information about the style of the response. In this instance, the audience is the professional teachers who make up the art department. It would be different if the target audience was non-specialist supply teachers covering a maternity leave, for instance.

Ideas: It could be that these lessons could have been produced as handouts for the Year 9 students and written in language that is appropriate for 14-year-old students in England. It is usually sensible to ensure that the AI programme is aware of the country, as these programmes are international.

FEEDBACK FROM AI PROGAMME:

Before you begin, is there anything further you need to know?

This final sentence provides an opportunity to feed in more context and background information to help the AI programme respond better to your specific needs and circumstances.

Ideas: The AI programme may automatically ask for information about class size, resources, etc. However, this is not the same from programme to programme, so you could add particular questions/issues to this part of the prompt. 

Experience suggests that the AI programme gives a priority to these answers, whereas the same information buried in other parts of the prompt may be overlooked in some programmes.

A similar strategy would be to ask, ‘What am I missing’

STATEMENT:

Add this statement to the bottom of this response in 10 point type. 

“Remember that AI is not sentient. These responses are the result of an algorithm and may be wrong or subject to bias. You must always use your judgment about the appropriate use of these AI generated responses.”

This statement is not only a sensible reminder, but it may also show that, if shared, this enquiry is compliant with school policy. [However, none of the AI programmes actually did this, so this bit of the prompt failed – further research needed. Checked this and it was the lack of  square brackets [ ].

Ideas: It is useful to avoid anthropomorphising AI, which can give it greater weight and authority. 

It is also important for teachers to recognise that school digital and AI policies and guidance may need to be taken into account when using AI professionally.

Prompt:

You are an experienced senior curriculum leader for art and design, you are also a senior examiner with a UK awarding body. You have served as a curriculum consultant at a national level in England. [It might be interesting to suggest some experience of teaching in other jurisdictions such as Australia to generate fresh thinking?]

I am the curriculum leader for art and design in a medium-sized high achieving school urban school in High Wycombe  southern England. Many students come from the local Islamic community of High Wycombe. The community predominantly comprises immigrants from South Asia, particularly Azad Kashmir, Pakistan and Bangladesh.  This community is aspirational, well established and a longstanding feature of the area.  [Although these schools are all hypothetical. It is important that teachers do not inadvertently provide training data to AI programmes. So specific information about school location should be removed]

My colleagues and I wish to refresh a unit of our current Yr 9 curriculum which we feel is too bland and not in tune with the needs of all of our student population.

This curriculum unit consists of six lessons and is titled ‘Identity. It does not meet the expectations of some of our students’ families, who are strict Muslims, and do not believe they should depict realistic images of people. These are a minority of our students, but we wish to respect their beliefs and values. [again it is important that teachers do not provide identifiable data about their school so this description of their curriculum should probably be anonymised]

This unit is currently described in the Oak national curriculum plan as follows below:

[This unit explores portraiture’s power in expressing identity, culture, and belief. Pupils will study artists who challenge stereotypes and explore power, representation, and concealment. They will develop critical thinking while reinforcing respect, tolerance, and self-expression.

This unit builds on prior learning about identity and draws inspiration from the Equality Act 2010 and protected characteristics. Centered on British values, it fosters pupils’ understanding of their own identity and their right to self-identify, promoting tolerance and respect for diversity. The unit also enhances their art skills and critical thinking while introducing how artists explore identity and challenge stereotypes. It lays the groundwork for future discussions on identity, essential for their progression into GCSE, by scaffolding creative conversations around identity and diversity.]

We would like you to help us rewrite this curriculum unit by generating three alternative units of six lessons each. These will help our discussion and inform our options. The first unit should focus on alternative options for those students who o prefer not to use realistic images of people. The second unit should explore portraiture from south asian and indian cultures. The third unit should look at portraiture from across world cultures and civilisations.

Each lesson is an hour long. The lesson plan should follow our normal format and [again don’t include data which might be used to train AI and which might identify your school] use the following headings:

Learning Objectives: Students will learn..

Key Vocabulary:

Activity:

Assessment for Learning: students can

Differentiation: 

Students who have not progressed as far

Students who have progressed further may

Resources:

Health and Safety Issues:

Before you begin is there anything further you need to know?

Text in green is where the teacher puts in their own context and aspirations.

Black text is generic part of this prompt which can be used as part of the generic template.

This should probably include a phrase asking AI to sustain the the basics of the unit description – to seamlessly fill the gap. (forgot)

Didn’t complete the list of things it wanted to know – pressed return too soon.

Response:

That’s a fantastic initiative to refresh your curriculum and make it more inclusive and responsive to your students’ diverse backgrounds. I commend your commitment to respecting the beliefs and values of all your students, particularly those from the Islamic community who may have reservations about depicting realistic images of people.

Before I generate the three alternative unit plans, I have a few clarifying questions to ensure the proposals are as tailored and helpful as possible:

1. What art forms or mediums are currently available and commonly used in your department? For example, are students primarily working with drawing, painting, sculpture, digital art, textiles, collage, printmaking, photography, or a combination? Knowing this will help in suggesting appropriate activities.
2. What prior learning about “identity” specifically are you referring to when you state, “This unit builds on prior learning about identity”? Understanding the scope and focus of this prior learning will help me ensure the new units build upon existing knowledge effectively and avoid repetition.
3. Are there any specific art materials or technologies that are either readily available or, conversely, difficult to access in your school? This will help me suggest practical activities.
4. Regarding the “minority of students” who are strict Muslims and prefer not to depict realistic images of people, approximately what percentage of your Year 9 cohort does this represent? This will help in balancing the approaches across the units, especially for the first alternative unit focusing on non-realistic depictions.
5. Are there any particular British values or protected characteristics (from the Equality Act 2010) that you particularly wish to emphasize or integrate into these units, beyond what is already stated?
6. Do your students have access to digital resources, such as computers, tablets, or specific art software, during these lessons?
7. Is there any flexibility in the sequencing of these lessons, or do they need to be strictly sequential within the six-hour unit? For instance, could some activities be spread across multiple lessons if a project requires more time?
8.  

Once I have this information, I can proceed with developing the three distinct and comprehensive six-lesson unit plans. [I did not complete this – pressed return too soon]

‘Proceed’

Thanks for that additional information! Knowing the available mediums and the limited computer access helps immensely in designing practical and effective unit plans.

Given that information, I’m now ready to generate the three alternative unit plans for your Year 9 ‘Identity’ curriculum unit.

Here are the three unit plans, each focusing on a different approach to identity and portraiture, keeping your school’s context and the needs of your diverse student population in mind:

Unit Plan 1: Identity Through Abstraction and Symbolism (Alternative Options for Non-Realistic Depictions)

This unit explores identity through non-realistic and symbolic approaches, offering meaningful ways for all students to express themselves while fully respecting diverse beliefs regarding figural representation. It encourages creative interpretation, abstract thinking, and the use of symbolism to convey personal and cultural identity.

Overarching Aim: To enable students to explore and express identity through abstract, symbolic, and conceptual art forms, fostering personal meaning-making and respect for diverse artistic interpretations.

Lesson 1: Deconstructing Identity – Symbols, Colours, and Forms

Learning Objectives: Students will learn to identify elements that contribute to personal and cultural identity beyond literal representation. They will learn to translate abstract concepts of identity into visual symbols, colours, and forms. 

Key Vocabulary: Symbolism, abstraction, identity, culture, emotion, form, colour theory, non-representational. 

Activity:

• Introduction (10 mins): Begin with a discussion: “What makes you unique? What aspects of your family, community, or beliefs shape who you are?” Introduce the concept of identity as something multi-layered, not just a physical appearance.
• Artist Study (15 mins): Explore artists who use abstraction and symbolism to convey identity or human experience without realistic figures (e.g., Wassily Kandinsky, Hilma af Klint, Mark Rothko, contemporary artists using Islamic geometric patterns or calligraphy, or Indigenous Australian art). Discuss how colours, shapes, and patterns can evoke feelings or represent ideas.
• Brainstorming & Sketching (25 mins): Students brainstorm personal identity elements (e.g., family values, hobbies, aspirations, heritage, emotions, significant places, favourite colours). They then begin sketching abstract symbols, colour palettes, or simple geometric patterns that could represent these elements. Encourage them to think about how lines, shapes, and colours can ‘feel’ or ‘mean’ something without being a direct image.
• Plenary (10 mins): Share one symbol or colour scheme and explain its meaning. Assessment for Learning: Students can generate a range of abstract symbols and colour combinations that relate to their personal identity. 
• Differentiation:
• Students who have not progressed as far: Provide a bank of common symbols (e.g., heart for love, star for aspiration) and a limited colour palette to choose from, or focus on one aspect of identity (e.g., favourite emotion).
• Students who have progressed further may: Research a specific cultural symbol system (e.g., Islamic geometry, Celtic knots, Adinkra symbols) and incorporate its principles into their designs, developing complex symbolic compositions. 
• Resources: Projector for artist examples, whiteboards, markers, A4 paper, pencils, colour pencils/pastelsHealth and Safety Issues: None.

Lesson 2: Crafting Symbolic Compositions – Collage and Pattern

Learning Objectives: Students will learn to combine various abstract elements to create a cohesive symbolic composition. They will learn to use collage and repetition (pattern) as methods for building visual narratives of identity. 

Key Vocabulary: Composition, collage, pattern, repetition, texture, balance, rhythm. 

Activity:

• Recap & Introduction (10 mins): Review the symbolic sketches from the previous lesson. Introduce collage and pattern as methods for building complex visual statements without realism.
• Artist Study (15 mins): Examine artists who use collage or patterned forms to express identity or cultural narratives (e.g., Hannah Höch for deconstructing identity, Alma Thomas for abstract patterns, contemporary textile artists, artists using calligraphy or geometric patterns). Discuss how fragmented images and repeated motifs create meaning.
• Collage Exploration (30 mins): Students select their most effective symbols and colours. Using pre-prepared coloured paper, patterned papers (geometric, textured), and perhaps some found materials (e.g., fabric scraps, magazine cut-outs if appropriate and abstract), they begin to create small collage studies exploring how to arrange their symbols and colours into a composition. Emphasise layering and repetition to build depth and meaning.
• Plenary (5 mins): Students share their most effective collage study and explain one design choice. 
• Assessment for Learning: Students can produce a collage study that effectively combines abstract elements to represent an aspect of identity. 
• Differentiation:
• Students who have not progressed as far: Provide pre-cut geometric shapes and a simpler template for arrangement. Focus on creating a clear single symbolic statement.
• Students who have progressed further may: Experiment with different textures and materials, exploring how they add another layer of meaning. Consider using printmaking techniques to create their own patterned papers for the collage. Resources: Projector, pre-cut coloured paper, patterned paper, scissors, glue sticks, A4 card for collage bases. Health and Safety Issues: Scissors – remind students about safe handling.

Lesson 3: Developing Personal Identity Shields/Totems – Form and Structure

Learning Objectives: Students will learn to translate 2D symbolic compositions into 3D forms. They will learn to use simple sculptural construction techniques to represent personal identity. 

Key Vocabulary: Sculpture, construction, form, 3D, structure, balance, totem, shield. 

Activity:

• Introduction (10 mins): Introduce the idea of a ‘personal shield’ or ‘totem’ – a symbolic object that represents an individual’s identity, values, or community. Discuss historical examples of shields (e.g., African tribal shields, Native American totems) and their symbolic meaning.
• Transition to 3D (15 mins): Look at how artists use abstract forms in sculpture to convey meaning (e.g., Henry Moore’s abstract figures, Barbara Hepworth, even Brancusi’s ‘Bird in Space’ for movement/aspiration). Discuss how forms can be built up or carved to create a symbolic presence.
• Design & Plan (25 mins): Students sketch ideas for a simple 3D ‘shield’ or ‘totem’ based on their symbolic compositions from previous lessons. They should consider what materials they could use (cardboard, simple wire, recycled plastics) and how they could construct it (folding, slotting, attaching). Focus on creating a strong, symbolic form.
• Plenary (10 mins): Students present their 3D design sketch and explain how the form represents their identity. Assessment for Learning: Students can generate a viable 3D design sketch that translates their symbolic ideas into a physical form. Differentiation:
• Students who have not progressed as far: Provide a pre-cut cardboard template for a simple shield shape, focusing on surface decoration and attachment.
• Students who have progressed further may: Experiment with more complex forms, considering balance and negative space in their sculptural designs. Resources: Projector, A4 paper, pencils, rulers, inspiration images of symbolic shields/totems and abstract sculpture. Health and Safety Issues: None.

Lesson 4: Constructing the Identity Form

Learning Objectives: Students will learn to use basic construction techniques to build their 3D identity forms. They will learn to problem-solve spatial challenges in creating a sculptural piece. 

Key Vocabulary: Construct, assemble, join, score, fold, stability, structure. 

Activity:

• Introduction (5 mins): Review the 3D designs and discuss practical construction methods for cardboard/card (scoring, folding, tabs, slots, gluing). Emphasise careful measuring and precise cutting.
• Construction Work (50 mins): Students begin to construct their 3D ‘identity shields’ or ‘totems’ using cardboard, card, and simple joining methods. Provide guidance on cutting, scoring, folding, and gluing techniques. Encourage experimentation with different forms and how they connect.
• Plenary (5 mins): Students identify one challenge they encountered and how they overcame it during construction. 
• Assessment for Learning: Students can construct a basic 3D form that shows an understanding of joining and stability. 
• Differentiation:
• Students who have not progressed as far: Focus on creating a robust base and one or two symbolic attachments. Provide more one-to-one guidance on cutting and joining.
• Students who have progressed further may: Work on developing more intricate details or multiple interconnected forms within their sculpture. Resources: Cardboard (various thicknesses), cutting mats, craft knives (or strong scissors for younger students), rulers, masking tape, strong glue (PVA or hot glue guns if appropriate supervision), sandpaper for edges (optional). 
• Health and Safety Issues:
• Craft knives/Scissors: Strict supervision, demonstration of safe cutting away from the body, use of cutting mats. Reinforce “no running with scissors/knives.”
• Hot Glue Guns (if used): Demonstration of safe use, caution about hot nozzle and glue, supervision.

Lesson 5: Adorning the Identity Form – Surface and Meaning

Learning Objectives: Students will learn to apply surface decoration (painting, collage, printmaking) to enhance the symbolic meaning of their 3D forms. They will learn to integrate their chosen symbols and colour palettes onto a sculptural surface. 

Key Vocabulary: Surface, texture, adornment, pigment, opacity, layering, integration. 

Activity:

• Introduction (10 mins): Discuss how surface decoration can add to the meaning and visual impact of a sculpture. Show examples of sculptures where the surface is integral to the message (e.g., traditional masks, painted totems, contemporary painted sculptures).
• Surface Decoration (45 mins): Students begin to apply paint, collage, or printmaking techniques to the surface of their 3D forms. Encourage them to refer back to their initial symbolic designs and colour palettes. This is where their abstract symbols truly come to life on the 3D object. Consider using block printing for repeated patterns or stencils for specific symbols.
• Plenary (5 mins): Students describe how their chosen surface decoration enhances the meaning of their identity form. 
• Assessment for Learning: Students can apply surface decoration that conceptually links to their initial symbolic ideas and enhances their 3D form. Differentiation:
• Students who have not progressed as far: Focus on simple, bold colour blocking and large, clear symbols.
• Students who have progressed further may: Experiment with textural effects, layering of paint and collage, or creating their own complex printed patterns to apply. 
• Resources: Acrylic paints, brushes, water pots, rags, collage materials, pre-prepared printing blocks/stencils, printing ink/rollers (if using printmaking), protective coverings for tables. 
• Health and Safety Issues:
• Paints/Inks: Wear aprons, wash hands after use, dispose of waste water responsibly.
• General tidiness: Keep work areas clean to prevent slips or cross-contamination of materials.

Lesson 6: Exhibition and Reflection – The Language of Symbolism

Learning Objectives: Students will learn to present their completed identity forms and articulate the symbolic meanings embedded within their artwork. They will learn to reflect critically on their creative process and the expressive power of abstract art. 

Key Vocabulary: Presentation, critique, reflection, interpretation, symbolism, abstract expression, portfolio. 

Activity:

• Installation & Preparation (15 mins): Students arrange their completed 3D identity forms for a mini-exhibition within the classroom. They prepare to speak about their work.
• Peer Review & Discussion (30 mins): Students take turns presenting their work to a small group or the class. They should explain:
  • What aspects of their identity they aimed to represent.
  • How they used symbols, colours, forms, and patterns to convey this.
  • One challenge they faced and how they overcame it.
  • One aspect of their work they are proud of.
  • Peers offer constructive feedback, focusing on how the artwork communicates meaning.
• Reflection & Documentation (15 mins): Students complete a short written reflection on their learning journey, noting how their understanding of identity and its abstract representation has evolved. They can photograph their final piece for their portfolios. 
• Assessment for Learning: Students can verbally explain the symbolic meaning of their 3D form and write a reflective statement on their learning. 
• Differentiation:
• Students who have not progressed as far: Provide sentence starters for their verbal presentation and written reflection (e.g., “My form represents… because…”).
• Students who have progressed further may: Lead a group discussion, offering deeper analytical insights into their own and peers’ work, connecting it to wider themes of symbolism in art. 
• Resources: Spaces for display, cameras/phones for documentation, reflection sheets/prompts. 
• Health and Safety Issues: None.

Unit Plan 2: Identity Through South Asian and Indian Portraiture

This unit explores diverse approaches to portraiture within South Asian and Indian cultures, focusing on how identity, status, belief, and narrative are conveyed through traditional and contemporary artistic practices, while also considering alternatives to strict realism where appropriate.

Overarching Aim: To enable students to appreciate and create artworks inspired by the rich traditions of South Asian and Indian portraiture, understanding how these cultures represent identity, status, and narrative through varied artistic conventions and techniques.

Lesson 1: Introduction to South Asian Portraiture – Beyond Likeness

Learning Objectives: Students will learn about the diverse forms and purposes of portraiture in South Asian and Indian cultures. They will understand that ‘portraiture’ can encompass more than just realistic physical likeness. 

Key Vocabulary: Miniature, Mughal, Rajput, Pahari, symbolism, iconography, status, narrative, idealized, stylised, identity, culture, South Asia, India. 

Activity:

• Introduction (10 mins): Begin with a general discussion: “What do we think of when we hear ‘portrait’?” Then, introduce the idea that different cultures have different ways of representing people.
• Artist/Cultural Study (25 mins): Explore examples of South Asian and Indian portraiture, specifically focusing on:
  • Mughal Miniature Paintings: Discuss detailed realism, emphasis on status, specific attributes, and narrative elements.
  • Rajput and Pahari Miniatures: Note stylisation, use of colour to convey emotion/mood, narrative scenes featuring figures.
  • Hindu deities/figures in sculpture/painting: Discuss the highly symbolic and idealised nature rather than realistic likeness.
  • Contemporary South Asian artists: Briefly introduce how some contemporary artists adapt traditional forms or address modern identity.
• Discussion & Sketching (20 mins): Discuss how these portraits convey identity (clothing, objects, posture, context, colour, stylisation). Students make quick observational sketches from projected examples, focusing on identifying key visual conventions. They begin to brainstorm aspects of their own identity they could represent through stylised or symbolic elements, rather than just physical features.
• Plenary (5 mins): Share one interesting observation about South Asian portraiture. 
• Assessment for Learning: Students can identify at least two conventions of South Asian portraiture and begin to sketch stylised elements for their own identity. 
• Differentiation:
• Students who have not progressed as far: Focus on identifying a single symbolic element in a given artwork (e.g., a turban representing royalty).
• Students who have progressed further may: Research a specific historical period or regional style of South Asian portraiture and explain its unique characteristics. 
• Resources: Projector, images of Mughal, Rajput, Pahari miniatures, images of Hindu deities, contemporary South Asian art examples (e.g., Shahzia Sikander, Raqib Shaw), A4 paper, pencils. 
• Health and Safety Issues: None.

Lesson 2: Symbolic Attributes and Narrative in Indian Portraiture

Learning Objectives: Students will learn to incorporate symbolic attributes and narrative elements into their portrait compositions. They will learn to develop a stylised portrait that conveys aspects of identity beyond realistic features. 

Key Vocabulary: Attribute, iconography, stylisation, gesture, narrative, context, composition, embellishment. 

Activity:

• Recap & Introduction (10 mins): Review the previous lesson’s key takeaways about stylisation and symbolism. Introduce the concept of “attributes” – objects or symbols that define a person’s identity, status, or story.
• Attribute Analysis (15 mins): Look at examples of South Asian portraits again, identifying specific attributes (e.g., jewellery, weaponry, animals, specific clothing, background elements) and discussing what they signify.
• Developing Stylised Portraits (30 mins): Students begin to sketch initial ideas for their own stylised portraits. They should consider:
  • Posture/Gesture: How can a simple pose convey identity?
  • Symbolic Objects/Attributes: What objects, patterns, or colours could represent their interests, heritage, family, or aspirations? (e.g., a book for knowledge, a specific pattern for cultural heritage, colours for emotions).
  • Background/Setting: How can the background add to the narrative without being a literal place?
  • Encourage students who prefer not to depict realistic faces to focus on the body, clothing, significant objects, or even turn away from the viewer, using symbolism and pattern to convey identity.
• Plenary (5 mins): Students share one symbolic attribute they plan to include and explain its meaning. 
• Assessment for Learning: Students can sketch a stylised portrait composition that includes at least two relevant symbolic attributes. 
• Differentiation:
• Students who have not progressed as far: Provide a list of common symbolic objects and their meanings to inspire choices.
• Students who have progressed further may: Research specific cultural motifs or hand gestures (mudras) and integrate them meaningfully into their compositions. 
• Resources: Projector, images of South Asian portraits for attribute analysis, A4 paper, pencils, rulers. 
• Health and Safety Issues: None.

Lesson 3: Colour and Pattern in South Asian Portraiture – Miniature Painting Inspiration

Learning Objectives: Students will learn about the distinctive use of colour and intricate patterns in South Asian miniature painting. They will apply these colour and pattern principles to their own stylised portrait compositions. 

Key Vocabulary: Miniature, palette, pigment, detail, motif, tessellation, border, embellishment, vibrancy. 

Activity:

• Introduction (10 mins): Focus on the exquisite detail, vibrant colours, and intricate patterns of Mughal and Rajput miniatures. Discuss how these elements contribute to the overall aesthetic and narrative.
• Colour & Pattern Analysis (15 mins): Examine close-ups of miniature paintings, noting the specific colour palettes (e.g., jewel tones, earthy pigments) and the complexity of patterns in clothing, jewellery, and architectural elements.
• Applying Colour & Pattern (30 mins): Students begin to translate their stylised portrait sketches into larger, more detailed drawings, focusing on the application of colour and pattern. They can work with fine liners, coloured pencils, or thin watercolour washes. Emphasise precision and building up layers of detail. For those avoiding faces, the patterns on clothing, or the symbolic objects become central.
• Plenary (5 mins): Students identify one challenge they faced in applying fine detail or complex patterns. 
• Assessment for Learning: Students can demonstrate the application of colour and pattern in a detailed drawing, inspired by South Asian miniature styles. Differentiation:
• Students who have not progressed as far: Focus on applying clear, flat colours within defined areas and simpler, repeated patterns.
• Students who have progressed further may: Experiment with creating their own intricate patterns and applying washes of colour to create a luminous effect, characteristic of miniatures. 
• Resources: Projector, close-up images of miniature details, larger drawing paper (e.g., A3), fine line pens, coloured pencils, watercolour paints, fine brushes, water pots. Health and Safety Issues:
• Paints: Wear aprons, wash hands.

Lesson 4: Printmaking Identity – Block Printing Inspired by Textiles

Learning Objectives: Students will learn basic block printing techniques. They will learn to create a repeated pattern or central motif inspired by South Asian textiles or decorative arts to be incorporated into their final portrait project. 

Key Vocabulary: Printmaking, block print, motif, repeat, relief print, textile, ink, brayer. 

Activity:

• Introduction (10 mins): Introduce the rich tradition of textile design and block printing in South Asia. Show examples of traditional block printed fabrics (e.g., Ajrak, Sanganeri prints) and how patterns are used.
• Demonstration & Design (20 mins): Demonstrate how to create a simple relief print using soft-cut lino or polystyrene tiles. Students design a small (e.g., 5x5cm) personal motif or pattern inspired by their identity (e.g., a family symbol, a repeated geometric shape, a stylised animal). This motif will be printed onto their larger portrait background or clothing.
• Carving & Printing (25 mins): Students carve their designs. Supervise carefully. Once carved, they practice printing their motif onto scrap paper.
• Plenary (5 mins): Students display their carved blocks and initial prints. Assessment for Learning: Students can carve a simple, effective print block and produce a clear test print. 
• Differentiation:
• Students who have not progressed as far: Provide pre-drawn simple motifs to trace and carve.
• Students who have progressed further may: Design a more intricate motif or experiment with layering different colours in their prints. 
• Resources: Projector, images of South Asian textiles, soft-cut lino or polystyrene tiles, lino cutting tools (or sharp pencils for polystyrene), printing ink, brayers, printing paper, scrap paper. 
• Health and Safety Issues:
• Lino tools: Demonstrate safe use, cut away from body, keep fingers clear of blade. Strict supervision.
• Inks: Wear aprons, wash hands after use.

Lesson 5: Final Portrait Development and Integration

Learning Objectives: Students will learn to integrate their printmaking element into their final stylised portrait composition. They will learn to refine their chosen medium (drawing/painting) to create a finished artwork inspired by South Asian aesthetics. 

Key Vocabulary: Integration, refinement, composition, depth, layering, aesthetic, finished. 

Activity:

• Introduction (10 mins): Discuss how artists combine different elements and techniques to create a cohesive final piece. Review the concept of layering and building up details.
• Working on Final Piece (45 mins): Students work on their final stylised portrait. They will:
  • Print Background/Clothing: Apply their carved prints to specific areas of their larger portrait drawing/painting (e.g., as a border, on clothing, or as a background texture).
  • Refine Drawing/Painting: Continue to add detail, refine lines, and build up colours using their chosen medium (coloured pencils, watercolours, or a combination). Emphasise the vibrant colours and intricate patterns characteristic of South Asian art.
  • Encourage those who prefer not to depict faces to use the central ‘figure’ (or a significant object) as a vehicle for complex pattern and symbolic meaning.
• Plenary (5 mins): Students share their progress and one aspect they are particularly focusing on. 
• Assessment for Learning: Students can integrate a printed element into their stylised portrait and show progress towards a refined final piece. 
• Differentiation:
• Students who have not progressed as far: Focus on clear placement of their print and applying colour within defined areas.
• Students who have progressed further may: Experiment with subtle shading, complex layering of colours, or creating additional small printed elements. Resources: Larger drawing paper (e.g., A3/A2), completed print blocks, printing ink, brayers, drawing/painting materials (as in Lesson 3), rags, protective coverings. 
• Health and Safety Issues:
• Inks/Paints: Wear aprons, wash hands.
• General tidiness.

Lesson 6: Exhibition and Reflection – South Asian Identity Narratives

Learning Objectives: Students will learn to present their completed South Asian-inspired portraits and articulate the cultural and personal meanings embedded within them. They will learn to reflect critically on their creative process and the cultural influences. 

Key Vocabulary: Presentation, critique, reflection, cultural influence, narrative, stylisation, interpretation. 

Activity:

• Installation & Preparation (15 mins): Students arrange their completed stylised portraits for display. They should consider how best to present their work.
• Peer Review & Discussion (30 mins): Students present their work to a small group or the class. They should explain:
  • Which aspects of South Asian/Indian art influenced their piece.
  • How they used stylisation, symbolism, colour, and pattern to convey identity.
  • The narrative or meaning behind their chosen attributes.
  • One challenge they overcame and one success.
  • Peers provide constructive feedback on how the artwork communicates its intended message.
• Reflection & Documentation (15 mins): Students complete a short written reflection on their learning, discussing how this unit expanded their understanding of portraiture and cultural identity. They photograph their final artwork. Assessment for Learning: Students can verbally explain the cultural and personal meaning in their stylised portrait and write a reflective statement. Differentiation:
• Students who have not progressed as far: Provide sentence starters for their verbal presentation and written reflection (e.g., “I was inspired by… because…”).
• Students who have progressed further may: Discuss the historical context of the South Asian art they studied and draw parallels with contemporary interpretations of identity. 
• Resources: Spaces for display, cameras/phones for documentation, reflection sheets/prompts. 
• Health and Safety Issues: None.

[This is quite challenging and seems to be too optimistic about the amount that can be accomplished in a lesson. Adjust the prompt to note that a one hour lesson must include time needed to distribute materials at the beginning and to clear up at the end (perhaps 8 minutes.) This probably needs to be resubmitted to be more realistic.]

Unit Plan 3: Identity Through World Cultures and Civilisations

This unit broadens the scope of portraiture to encompass diverse global approaches to representing identity across various cultures and historical periods. It encourages students to explore how different societies convey individual, social, and spiritual identity through a range of artistic conventions, including both realistic and symbolic forms.

Overarching Aim: To enable students to understand and appreciate the diverse ways in which identity has been represented across world cultures and civilisations, using a variety of artistic conventions and techniques.

Lesson 1: Faces of the Past – Ancient and Traditional Depictions of Identity

Learning Objectives: Students will learn about the varied purposes and styles of portraiture in ancient and traditional cultures. They will understand how context (social, religious, political) shapes artistic representation of identity. 

Key Vocabulary: Ancient, traditional, civilisation, bust, effigy, mask, ritual, idealised, symbolic, status, funerary. 

Activity:

• Introduction (10 mins): Begin with “What do we consider a ‘portrait’ today?” Then, pose the question: “How did people represent themselves or others before cameras, and why?”
• World Cultural Study (25 mins): Introduce diverse examples of identity representation from various ancient/traditional cultures, focusing on purpose and conventions:
  • Ancient Egypt: Idealised pharaonic sculptures (e.g., Tutankhamun’s mask, busts of Nefertiti) – focus on divine status, afterlife.
  • Ancient Rome: Veristic portrait busts – focus on individual likeness, age, wisdom.
  • African Masks: (e.g., Baule, Dan masks) – focus on spiritual identity, rituals, not individual likeness.
  • Mesoamerican figures: (e.g., Olmec colossal heads, Mayan relief sculptures) – focus on power, lineage.
  • Briefly touch on highly stylised or symbolic figures from other cultures (e.g., Celtic art, Viking art where figures are integrated into patterns).
• Discussion & Sketching (20 mins): Discuss how these cultures convey different aspects of identity (power, spirituality, lineage, individuality) and how they vary in realism vs. stylisation. Students sketch quick observations from these examples, noting differences in facial features, headwear, and symbolic elements. They also brainstorm how they might convey an aspect of their own identity using an ancient/traditional aesthetic.
• Plenary (5 mins): Share one surprising observation about how identity was shown in a different culture. 
• Assessment for Learning: Students can identify at least two distinct approaches to identity representation from different ancient cultures. 
• Differentiation:
• Students who have not progressed as far: Focus on identifying the primary purpose of a given ancient portrait (e.g., to honour a pharaoh).
• Students who have progressed further may: Research the specific materials and techniques used in one ancient culture’s portraiture and discuss their significance. 
• Resources: Projector, images of ancient Egyptian busts/masks, Roman busts, African masks, Mesoamerican sculptures. A4 paper, pencils. 
• Health and Safety Issues: None.

Lesson 2: Global Self-Expression – Narrative and Adornment in Portraiture

Learning Objectives: Students will learn how different cultures use narrative, costume, adornment, and context to express identity in portraiture. They will develop preliminary ideas for their own global-inspired identity portrait, focusing on these elements. 

Key Vocabulary: Adornment, costume, gesture, narrative, cultural context, symbolism, motif, personal narrative, global. 

Activity:

• Recap & Introduction (10 mins): Review the idea that identity in portraiture isn’t just about faces. Introduce the power of what people wear, hold, and do to tell a story about who they are.
• Cultural Study (25 mins): Explore examples from diverse cultures where identity is strongly conveyed through:
  • Traditional Dress/Costume: (e.g., kimonos, saris, Scottish kilts, Maasai attire) and how it signifies belonging, status, or celebration.
  • Jewellery/Body Adornment: (e.g., Native American jewellery, tribal scarification/tattoos, historical European regalia).
  • Objects/Props: (e.g., musical instruments, tools, religious items, specific animals) that tell a story about the person’s role or beliefs.
  • Contemporary global artists: How artists from diverse backgrounds use these elements to express modern identity (e.g., Kehinde Wiley’s use of patterns and historical poses, Cindy Sherman’s characters).
• Brainstorming & Sketching (20 mins): Students brainstorm how they could represent their own identity (or an imagined identity) through clothing, objects, or a specific setting. Encourage creative thinking – what objects, patterns, or ‘costumes’ might tell their story? Students begin to sketch initial compositions, focusing on the figure’s interaction with these elements. For those who prefer not to depict faces, they can focus on clothing, body posture, and symbolic objects as the primary conveyors of identity.
• Plenary (5 mins): Share one object or piece of ‘costume’ they might include and its meaning. 
• Assessment for Learning: Students can generate initial sketches that incorporate at least two narrative/adornment elements to represent identity. Differentiation:
• Students who have not progressed as far: Provide a simplified template of a figure and ask them to add specific items of clothing or one significant object.
• Students who have progressed further may: Research specific cultural attire or historical objects and accurately integrate them into their concepts, explaining their significance. 
• Resources: Projector, images of diverse cultural costumes/adornment, historical and contemporary global portraits, A4 paper, pencils. 
• Health and Safety Issues: None.

Lesson 3: Colour, Pattern, and Symbolism – Global Inspirations

Learning Objectives: Students will learn how colour palettes, symbolic patterns, and motifs are used in diverse global art to convey identity and meaning. They will apply these principles to their own portrait compositions. 

Key Vocabulary: Palette, motif, pattern, symbolism, cultural significance, aesthetic, contrast, harmony, iconography. 

Activity:

• Introduction (10 mins): Revisit the idea that colours and patterns are not universal in their meaning but are culturally significant.
• Global Colour & Pattern Analysis (25 mins): Examine how different cultures use colour and pattern:
  • Indigenous Australian dot paintings: Narrative through pattern and specific colours.
  • Islamic geometric patterns: Symbolism, order, infinity, often abstract.
  • African textiles: Kente cloth, bogolanfini – patterns convey status, proverbs, identity.
  • Japanese woodblock prints: Use of flat colour, bold outlines, specific patterns in clothing.
  • Discuss the emotions or ideas evoked by different colours and patterns in these contexts.
• Developing Global Portrait Composition (20 mins): Students begin to develop their chosen portrait composition on a larger scale (A3). They should consider:
  • Colour Palette: What colours will they use and why? How do they relate to the chosen cultural aesthetic or personal meaning?
  • Pattern Integration: Where can they integrate patterns (on clothing, background, surrounding elements)? How do these patterns add meaning?
  • Emphasis should be on creating a visually rich composition that tells a story about identity through these global artistic elements.
• Plenary (5 mins): Share their chosen colour palette and one pattern, explaining its inspiration. 
• Assessment for Learning: Students can create a developed drawing that demonstrates a clear intention for colour and pattern integration, inspired by a global aesthetic. 
• Differentiation:
• Students who have not progressed as far: Provide a limited colour palette and a few simplified patterns to choose from.
• Students who have progressed further may: Create their own original patterns informed by specific cultural research and develop a more nuanced colour scheme. 
• Resources: Projector, images of global patterns and colour use, A3 paper, pencils, rulers, fine line pens, coloured pencils, watercolours/gouache. 
• Health and Safety Issues:
• Paints: Wear aprons, wash hands.

Lesson 4: Texture and Medium – Exploring Global Materials

Learning Objectives: Students will learn how different cultures use varied materials and textures to create meaning in portraiture. They will experiment with mixed media or specific material effects to enhance their global-inspired identity portrait. 

Key Vocabulary: Texture, material, mixed media, collage, relief, surface, tactile, found objects. 

Activity:

• Introduction (10 mins): Discuss how the material an artwork is made from can carry significant meaning (e.g., gold in ancient Egypt, wood in African sculpture, clay in traditional pottery).
• Material Exploration (25 mins): Look at examples where texture and material are key:
  • Sculptures: (e.g., African wood carvings, terracotta figures from Nok culture, bronze Benin heads) – how texture enhances the form and meaning.
  • Textiles/Tapestries: (e.g., Peruvian textiles, Japanese embroidery) – how woven or stitched textures create visual and tactile identity.
  • Mixed Media: Contemporary artists who incorporate various materials (e.g., El Anatsui using bottle caps, Nick Cave’s ‘Soundsuits’).
• Experimentation & Application (20 mins): Students experiment with incorporating texture or different materials into their portraits. This could involve:
  • Collage: Using paper, fabric scraps, or found objects (e.g., string, natural materials) to create textural areas.
  • Paint techniques: Using impasto (thick paint), sponging, or sgraffito to create textured surfaces.
  • Simple relief: Building up areas with card or paper pulp.
• Plenary (5 mins): Students share one textural element they experimented with and how it contributes to their piece. 
• Assessment for Learning: Students can experiment with and apply at least one textural element or different material to enhance their portrait. 
• Differentiation:
• Students who have not progressed as far: Focus on a simple collage element with pre-cut shapes or a single paint texture technique.
• Students who have progressed further may: Explore more complex mixed media combinations or create a small relief element using a specific cultural material inspiration. 
• Resources: Projector, images of textured global art, various papers, fabric scraps, string, natural materials (e.g., sand, leaves), PVA glue, acrylic paints, palette knives/sponges. 
• Health and Safety Issues:
• Craft knives/Scissors: Safe handling.
• Glue: Ventilated area if using strong glues.
• Found objects: Ensure they are clean and safe.

Lesson 5: Final Global Identity Portrait Development

Learning Objectives: Students will learn to refine and complete their global-inspired identity portrait, integrating all learned elements (composition, colour, pattern, texture) into a cohesive final artwork. 

Key Vocabulary: Refine, integrate, cohesion, balance, contrast, detail, final piece, presentation. 

Activity:

• Introduction (10 mins): Review the journey so far and discuss strategies for bringing all elements together into a polished final piece. Emphasise layering, building depth, and paying attention to detail.
• Working on Final Piece (45 mins): Students work diligently on their final global-inspired identity portrait. They will:
  • Integrate Elements: Ensure that all chosen elements (figure, background, patterns, textures, symbolic objects) work together harmoniously.
  • Refine Detail: Add fine details using pens, thin brushes, or precise cutting.
  • Build Colour and Tone: Develop the richness of their colours and ensure appropriate tonal variation.
  • Address Concerns: Make adjustments based on their own assessment and peer feedback from previous informal sharing.
• Plenary (5 mins): Students identify one area of their work they are still refining and their plan for it. 
• Assessment for Learning: Students can demonstrate significant progress towards a complete and refined global-inspired identity portrait, showing integration of key elements. 
• Differentiation:
• Students who have not progressed as far: Focus on completing the main areas of colour and pattern, ensuring legibility of their core symbols.
• Students who have progressed further may: Focus on highly intricate details, subtle shading, or creating complex visual relationships between elements. Resources: All materials used in previous lessons (drawing, painting, collage, printmaking supplies), final working surface (e.g., large paper, prepared board). Health and Safety Issues: As per previous lessons, depending on materials used.

Lesson 6: Exhibition and Reflection – My Global Identity

Learning Objectives: Students will learn to present their completed global-inspired identity portraits and articulate the cultural influences and personal meanings within them. They will learn to reflect critically on their creative process and the diverse ways identity is expressed globally. 

Key Vocabulary: Presentation, critique, reflection, cultural diversity, global perspective, interpretation, impact. 

Activity:

• Installation & Preparation (15 mins): Students arrange their completed global-inspired portraits for a class exhibition. They consider how to best present their work and prepare to discuss it.
• Peer Review & Discussion (30 mins): Students present their work to a small group or the class (powerpoint?). They should explain:
  • Which specific cultures or artistic traditions influenced their artwork and how.
  • How their chosen visual elements (colour, pattern, texture, objects) convey aspects of their identity.
  • What they learned about identity and representation across different global contexts.
  • One challenge and one success during the unit.
  • Peers provide constructive feedback, focusing on the clarity of communication and the success of cultural integration.
• Reflection & Documentation (15 mins): Students complete a short written reflection on their learning journey, discussing how this unit broadened their understanding of identity in a global context and how their artistic skills developed. They photograph their final pieces for their portfolios. 
• Assessment for Learning: Students can verbally explain the cultural influences and personal meaning in their global-inspired portrait and write a comprehensive reflective statement. 
• Differentiation:
• Students who have not progressed as far: Provide structured prompts for their presentation and reflection.
• Students who have progressed further may: Lead a discussion about the ethical considerations of cultural appropriation vs. inspiration, linking their work to broader debates in contemporary art. 
• Resources: Spaces for display, cameras/phones for documentation, reflection sheets/prompts. 
• Health and Safety Issues: None.

I hope these three alternative unit plans provide a strong foundation for your discussions and help you refresh your Year 9 ‘Identity’ curriculum. They offer distinct pathways while maintaining the core educational goals and addressing the specific needs of your student population. Good luck with the discussions with your colleagues!

[Notes: These 3 units are all intellectually challenging and lessons are driven at a fast pace. They embrace a variety of cultural traditions. The prompt specifies that this is a high achieving school in an aspirational community. Nevertheless teachers will need to reflect on the degree to which these units are realistic for their students. If they wish to rebalance the challenge they might:

• rerun the prompt with a lesson length that acknowledges distributing materials and clearing up time and add an additional sentence to reduce the challenge.
• Think carefully about the scale and scope of the practical work (mostly done in A4 sketchbooks, for instance).
• Take the opportunity offered by most AI responses, to educationally focussed prompts, to develop further scaffolding to support the learning in this unit. For instance, student handouts, key questionnaires, technique worksheets.
• Edit and reduce the demand themselves.
• Allocate more lessons to this unit in order to accomplish all the tasks.
• Use this unit for Year 10 pupils instead.]

Prompt:

You are an experienced senior curriculum leader for art and design, you are also a senior examiner with a UK awarding body. You have served as a curriculum consultant at a national level in England. 

I am the curriculum leader for art and design in a medium-sized inner city school in Notting Hill, London. Many of our students come from the surrounding Caribbean community of the area and are immersed in the celebration of ‘Carnival’. Other students come from many ethnic backgrounds. 

My colleagues and I wish to refresh a unit of our current Yr 9 curriculum which we feel is too bland and not in tune with the needs of all of our student population.

This curriculum unit consists of six lessons and is titled ‘Identity:. It does not engage with the cultural heritage of many of our students who are deeply immersed in exploring their cultural identity and expressing it/

This unit is currently described in our curriculum plan as follows below:

[This unit explores portraiture’s power in expressing identity, culture, and belief. Pupils will study artists who challenge stereotypes and explore power, representation, and concealment. They will develop critical thinking while reinforcing respect, tolerance, and self-expression.

This unit builds on prior learning about identity and draws inspiration from the Equality Act 2010 and protected characteristics. Centered on British values, it fosters pupils’ understanding of their own identity and their right to self-identify, promoting tolerance and respect for diversity. The unit also enhances their art skills and critical thinking while introducing how artists explore identity and challenge stereotypes. It lays the groundwork for future discussions on identity, essential for their progression into GCSE, by scaffolding creative conversations around identity and diversity.]

We would like you to help us rewrite this curriculum unit by generating three alternative units of six lessons each. This new unit should follow the broad expectations of our curriculum – and fill the space left. These will help our discussion and inform our options. These units should offer different ways of approaching the subject and might explore things such as  adornment and decoration, mask and characterisation, music based themes and references, gender differences and characters in parades and carnival in different cultures.

Each lesson is an hour long. The lesson plan should follow our normal format and use the following headings:

Learning Objectives: Students will learn..

Key Vocabulary:

Activity:

Assessment for Learning: students can

Differentiation: 

Students who have not progressed as far

Students who have progressed further may

Resources:

Health and Safety Issues:

Before you begin is there anything further you need to know?

[In this case the request for further information was not made (or not recorded). But the prompt did not give clear information about internet research access and the AI response has made some mistaken assumptions about IT access for students in an art studio]

Response:

Three Alternative Year 9 Identity Curriculum Units

Unit Option 1: “Adorned Identities: Cultural Expression Through Decoration”

Lesson 1: Reading the Body – Cultural Adornment Across Cultures

Learning Objectives: Students will learn…

• How different cultures use body adornment to express identity, status, and belief
• To analyze the symbolic meaning of decorative elements in various cultural contexts
• Observational drawing techniques for capturing intricate patterns and textures

Key Vocabulary: Adornment, symbolism, cultural significance, henna, scarification, body painting, ceremonial dress, status symbols

Activity: 

Students create detailed observational drawings of cultural adornment examples (jewelry, henna patterns, carnival headdresses, African beadwork, etc.). They research and annotate one chosen example, explaining its cultural significance and symbolic meaning.

Assessment for Learning: Students can

• Identify at least three different cultural adornment traditions
• Explain the symbolic meaning behind chosen decorative elements
• Demonstrate accurate observational drawing skills with attention to pattern and texture

Differentiation:

• Students who have not progressed as far: Focus on one cultural tradition with provided reference sheets, simple pattern drawing exercises
• Students who have progressed further may: Research lesser-known adornment traditions, experiment with combining observational drawing with creative interpretation

Resources: Cultural reference images, fine liners, colored pencils, magnifying glasses, pattern worksheets

Health and Safety Issues: None specific

Lesson 2: Carnival Crowns – Designing Identity Through Headwear

Learning Objectives: Students will learn…

• How headwear functions as identity markers in carnival and other cultural celebrations
• 3D design principles including balance, proportion, and visual impact
• Construction techniques using mixed media materials

Key Vocabulary: Headdress, regalia, mas band, feathers, sequins, construction, balance, proportion, visual hierarchy

Activity: 

Students design and begin constructing a personal identity crown/headdress inspired by carnival traditions but reflecting their own cultural background or interests. Focus on symbolic elements that represent their identity.

Assessment for Learning: Students can

• Explain design choices in relation to personal or cultural identity
• Demonstrate understanding of 3D construction principles
• Show evidence of planning through preliminary sketches

Differentiation:

• Students who have not progressed as far: Use template base with guided decoration choices, focus on color and pattern
• Students who have progressed further may: Incorporate complex construction techniques, experiment with unconventional materials, create detailed technical drawings

Resources: Cardboard, wire, fabric scraps, feathers, sequins, glue guns, craft knives, cutting mats, colored papers

Health and Safety Issues: Glue gun supervision required, craft knife safety protocols, eye protection when cutting wire

Lesson 3: Pattern as Language – Creating Personal Symbol Systems

Learning Objectives: Students will learn…

• How patterns function as visual languages in different cultures
• Printmaking techniques to create repeating motifs
• How to develop personal symbolic vocabularies

Key Vocabulary: Motif, repetition, rhythm, printmaking, block printing, cultural patterns, Adinkra, geometric, organic

Activity: 

Students create a series of personal symbols/motifs inspired by cultural pattern traditions (African textiles, Islamic geometric patterns, Caribbean festival decorations). They develop these into prints using foam printing or lino techniques.

Assessment for Learning: Students can

• Create at least 4 distinct personal symbols with explained meanings
• Demonstrate competent printmaking technique
• Show understanding of how patterns communicate cultural messages

Differentiation:

• Students who have not progressed as far: Use foam printing with simple geometric shapes, guided symbol development
• Students who have progressed further may: Experiment with multi-color printing, develop complex interlocking pattern systems, research historical pattern traditions

Resources: Lino blocks, lino tools, foam sheets, printing inks, brayers, printing paper, design sheets

Health and Safety Issues: Lino tool safety – supervised use, proper cutting techniques, sharp tool storage

Lesson 4: Mask Making – Concealing and Revealing Identity

Learning Objectives: Students will learn…

• The role of masks in different cultural traditions for transformation and storytelling
• 3D modeling and surface decoration techniques
• How concealment can be a form of self-expression

Key Vocabulary: Transformation, persona, character, ritual, carnival mas, African masks, papier-mâché, surface texture

Activity: 

Students create masks that explore the duality of identity – what we show versus what we hide. Using papier-mâché or cardboard construction, they incorporate elements from their earlier pattern work and cultural research.

Assessment for Learning: Students can

• Explain how their mask design explores themes of identity and transformation
• Demonstrate competent 3D construction skills
• Show integration of cultural influences in their design choices

Differentiation:

• Students who have not progressed as far: Use pre-formed mask bases, focus on surface decoration and painting
• Students who have progressed further may: Construct complex 3D forms, experiment with mixed media, create accompanying character narratives

Resources: Cardboard, papier-mâché materials, paints, brushes, decorative materials from previous lessons, mirrors

Health and Safety Issues: PVA glue ventilation, paint safety, proper brush cleaning procedures

Lesson 5: Textile Narratives – Fabric as Cultural Storyteller

Learning Objectives: Students will learn…

• How textiles carry cultural stories and identity markers
• Fabric decoration techniques including tie-dye, fabric painting, and appliqué
• The relationship between material choice and cultural meaning

Key Vocabulary: Textile, batik, tie-dye, appliqué, cultural narrative, kente, madras, fabric symbolism

Activity: 

Students create a small textile piece (bandana/scarf size) that tells their personal cultural story. They may use tie-dye, fabric paints, or simple appliqué techniques, incorporating symbols and patterns from earlier lessons.

Assessment for Learning: Students can

• Explain how their textile design communicates personal/cultural narratives
• Demonstrate competent fabric decoration technique
• Show continuity with their developing personal symbol system

Differentiation:

• Students who have not progressed as far: Use simple tie-dye patterns, guided color choices, basic fabric painting
• Students who have progressed further may: Combine multiple techniques, experiment with complex dye patterns, research historical textile traditions

Resources: Cotton fabric squares, fabric dyes, rubber bands, fabric paints, brushes, plastic gloves, aprons

Health and Safety Issues: Dye safety protocols, glove use mandatory, ventilation requirements, protective clothing

Lesson 6: Identity Celebration – Curating and Presenting Cultural Expression

Learning Objectives: Students will learn…

• How to curate and present their artistic work effectively
• Critical evaluation skills for assessing their own artistic development
• How art functions in community celebration and cultural preservation

Key Vocabulary: Curation, presentation, evaluation, artistic development, cultural preservation, community art

Activity: 

Students arrange their work from the unit (drawings, prints, masks, textiles, headdresses) into a personal exhibition that tells the story of their cultural identity exploration. They write artist statements and peer-evaluate each other’s work.

Assessment for Learning: Students can

• Thoughtfully arrange their work to communicate their artistic journey
• Write coherent artist statements explaining their cultural identity exploration
• Provide constructive feedback on peers’ artistic development

Differentiation:

• Students who have not progressed as far: Use guided exhibition planning sheets, structured peer feedback forms
• Students who have progressed further may: Create complex exhibition narratives, research professional curation practices, mentor other students

Resources: Display boards, mounting materials, writing materials, evaluation sheets, cameras for documentation

Health and Safety Issues: None specific

[This unit from the AI programme Claude contains some interesting ideas but seems pragmatically incoherent. The activities are not related to lesson time and are often unrealistic and unrelated from week to week. The process towards a final outcome is confused with weekly lessons dealing with different techniques. Teachers will probably need to rebuild this unit. (Note: Claude usually gives straightforward useful responses to educational prompts. It would be wrong to dismiss Claude on the basis of this response. The prompt did not work well on this occasion)

They might:

• redraft and resubmit this prompt with further direct instructions to 
• simplify, 
• give further details about activites and the timing in lessons 
• give more information about the resources available in the art room including access to IT, information and research
• and ensure better progress towards a single coherent outcome.
• exploit whatever further scaffolding suggestions might be offered by Claude for additional formatting (worksheets etc.).
• Use some of these ideas for their unit of work but draft their own teaching programme which is realistic and matches their students and resources.
• Submit this prompt to another AI programme.
• Rethink and rewrite the prompt and submit to another AI programme.]

Unit Option 2: “Rhythmic Identities: Visual Music and Cultural Expression”

Lesson 1: Sound Made Visible – Visualizing Musical Identity

Learning Objectives: Students will learn…

• How visual art can represent musical elements like rhythm, melody, and harmony
• Observational skills for capturing movement and energy
• The connection between cultural music and visual expression

Key Vocabulary: Rhythm, syncopation, visual music, abstract representation, movement lines, cultural music, soca, reggae, jazz

Activity: 

Students listen to diverse musical genres (including Caribbean carnival music, but also representing various cultures) and create abstract drawings that capture the rhythm, energy, and emotional qualities of the music. They experiment with mark-making techniques to represent different musical elements.

Assessment for Learning: Students can

• Create visual representations that clearly correspond to musical qualities
• Demonstrate varied mark-making techniques
• Explain connections between musical and visual elements

Differentiation:

• Students who have not progressed as far: Focus on simple rhythm visualization, guided listening exercises with clear prompts
• Students who have progressed further may: Experiment with complex musical compositions, develop personal visual music notation systems

Resources: Audio system, variety of music samples, large paper sheets, charcoal, pastels, colored pencils, felt pens

Health and Safety Issues: Appropriate volume levels, awareness of students with hearing sensitivities

Lesson 2: Instrument Inspiration – Cultural Objects as Art Forms

Learning Objectives: Students will learn…

• How musical instruments reflect cultural identity and craftsmanship
• Detailed observational drawing techniques for complex 3D forms
• The relationship between function and aesthetic beauty in cultural objects

Key Vocabulary: Steel pan, djembe, craftsmanship, functional art, cultural instruments, form follows function, decorative elements

Activity: 

Students create detailed observational drawings of various cultural instruments (steel pans, African drums, etc.), focusing on both their structural form and decorative elements. They research the cultural significance and craftsmanship involved in creating these instruments.

Assessment for Learning: Students can

• Demonstrate accurate observational drawing of complex 3D forms
• Identify cultural significance of chosen instruments
• Show understanding of how decoration enhances function

Differentiation:

• Students who have not progressed as far: Focus on simpler instruments, use guidelines for proportion and structure
• Students who have progressed further may: Attempt multiple viewpoints, research construction techniques, experiment with different drawing media

Resources: Collection of cultural instruments (or high-quality photographs), drawing materials, research resources, magnifying glasses

Health and Safety Issues: Careful handling of any actual instruments, respect for cultural objects

Lesson 3: Festival Flags and Banners – Identity in Motion

Learning Objectives: Students will learn…

• How flags and banners function in cultural celebrations
• Design principles for creating effective visual communication
• Fabric art techniques including painting and appliqué

Key Vocabulary: Banner design, mas band, visual communication, symbolism, fabric art, procession, celebration

Activity: 

Students design and create personal or family festival banners that could be used in a carnival parade or cultural celebration. They focus on bold, readable designs that work effectively when seen from a distance and in motion.

Assessment for Learning: Students can

• Create designs that communicate effectively at a distance
• Demonstrate understanding of color and contrast principles
• Show competent fabric decoration skills

Differentiation:

• Students who have not progressed as far: Use simple geometric designs, guided color choices, basic fabric painting
• Students who have progressed further may: Incorporate complex symbolic elements, experiment with mixed media, research historical banner traditions

Resources: Large fabric pieces, fabric paints, brushes, stencils, measuring tools, design paper

Health and Safety Issues: Fabric paint safety, ventilation, protective clothing

Lesson 4: Carnival Character Design – Creating Cultural Personas

Learning Objectives: Students will learn…

• How costume design communicates character and cultural stories
• Figure drawing skills for designing characters in motion
• The role of exaggeration and symbolism in character design

Key Vocabulary: Character design, costume, persona, exaggeration, cultural stories, mas character, traditional dress

Activity: 

Students design original carnival characters that blend traditional cultural elements with contemporary identity. They create detailed character sheets showing costume details, color schemes, and backstories that explain their cultural significance.

Assessment for Learning: Students can

• Design characters that clearly communicate cultural identity
• Demonstrate competent figure drawing skills
• Explain cultural reasoning behind design choices

Differentiation:

• Students who have not progressed as far: Use figure templates, focus on costume details rather than figure drawing
• Students who have progressed further may: Design complex character narratives, experiment with dynamic poses, research historical costume traditions

Resources: Drawing materials, cultural costume references, figure templates, colored media

Health and Safety Issues: None specific

Lesson 5: Beat of the Street – Creating Environmental Art

Learning Objectives: Students will learn…

• How public art reflects and shapes community identity
• Large-scale art planning and execution skills
• Collaborative artistic processes

Key Vocabulary: Public art, community art, mural, collaborative art, environmental design, street art, cultural expression

Activity: 

Working in small groups, students plan and create a large-scale collaborative artwork (wall mural or floor installation) that celebrates the musical and cultural diversity of their community. Each student contributes elements from their previous work in the unit.

Assessment for Learning: Students can

• Contribute meaningfully to collaborative artistic planning
• Demonstrate ability to work at large scale
• Show integration of unit themes in their contributions

Differentiation:

• Students who have not progressed as far: Take on specific defined roles within groups, focus on areas matching their strengths
• Students who have progressed further may: Take leadership roles in group coordination, tackle complex sections of the collaborative work

Resources: Large paper rolls or boards, paints, brushes, measuring tools, masking tape, group planning sheets

Health and Safety Issues: Space management for large-scale work, paint safety, group work supervision

Lesson 6: Cultural Showcase – Performance and Visual Art Integration

Learning Objectives: Students will learn…

• How visual art enhances cultural performance and celebration
• Presentation and documentation skills
• Critical evaluation of artistic development throughout the unit

Key Vocabulary: Integration, performance art, documentation, artistic development, cultural showcase, multimedia presentation

Activity: 

Students create a final presentation that integrates their visual work with the musical and cultural themes explored throughout the unit. This could include displaying their work alongside recorded music, creating live drawing performances, or designing exhibition spaces that incorporate sound.

Assessment for Learning: Students can

• Effectively integrate visual and musical elements in their presentations
• Articulate their artistic development throughout the unit
• Provide thoughtful peer feedback on integrated presentations

Differentiation:

• Students who have not progressed as far: Focus on clear presentation of individual work with musical accompaniment
• Students who have progressed further may: Create complex multimedia presentations, experiment with live performance elements

Resources: Display materials, audio equipment, documentation cameras, presentation planning sheets

Health and Safety Issues: Audio equipment safety, performance space management

[This unit is again incoherent with some interesting ideas mixed in. The issue is the prompt. It is not generating a useful response and needs to be rethought, rewritten and resubmitted, or abandoned as an idea that did not work. This prompt did not give enough information about the resources, art studios and IT and research access. It also presented a confused set of objectives, purposes and outcomes. 

There may be some ideas in some of these lessons that could 

• generate ideas that teachers might want to pursue – writing their own lesson plans
• or generate ideas that could be reworked into a new prompt.]

Unit Option 3: “Transformative Identities: Masks, Characters, and Cultural Performance”

Lesson 1: Face Value – Exploring Identity Through Portraiture

Learning Objectives: Students will learn…

• How facial features and expressions communicate identity and emotion
• Advanced portraiture techniques including proportion and character
• Cultural differences in portrait traditions and self-representation

Key Vocabulary: Portraiture, proportion, expression, cultural representation, self-representation, likeness, character

Activity: 

Students create a series of self-portraits exploring different aspects of their identity – how they see themselves, how others see them, and how they wish to be seen. They experiment with different media and approaches to capture these varying perspectives.

Assessment for Learning: Students can

• Demonstrate competent portrait drawing skills with attention to proportion
• Show understanding of how artistic choices affect meaning
• Explain how different portraits communicate different aspects of identity

Differentiation:

• Students who have not progressed as far: Use proportion guidelines, focus on one clear self-portrait with guidance
• Students who have progressed further may: Experiment with multiple media, explore abstract approaches to portraiture, research diverse portrait traditions

Resources: Mirrors, drawing materials, proportion guides, cultural portrait examples, various papers

Health and Safety Issues: Mirror safety, good lighting for self-observation

Lesson 2: Mask Traditions – Global Perspectives on Transformation

Learning Objectives: Students will learn…

• The diverse functions of masks across different world cultures
• Research skills for understanding cultural context and significance
• Analytical skills for comparing and contrasting cultural practices

Key Vocabulary: Transformation, ritual, ceremony, cultural context, African masks, carnival mas, theatrical masks, spiritual significance

Activity: 

Students research mask traditions from at least three different cultures (including Caribbean carnival but extending globally). They create detailed analytical drawings of chosen masks, annotating their cultural functions, materials, and symbolic meanings.

Assessment for Learning: Students can

• Identify and explain the cultural significance of masks from different traditions
• Create accurate observational drawings with detailed annotation
• Compare and contrast the functions of masks across cultures

Differentiation:

• Students who have not progressed as far: Focus on clear cultural examples with provided research frameworks
• Students who have progressed further may: Research lesser-known mask traditions, explore historical development of mask practices

Resources: Cultural mask references (books, online resources), research worksheets, drawing materials, annotation templates

Health and Safety Issues: Respectful handling of cultural information and images

Lesson 3: Character Construction – Building 3D Mask Forms

Learning Objectives: Students will learn…

• 3D construction techniques for creating wearable art
• Problem-solving skills for structural and aesthetic challenges
• How form and function work together in mask design

Key Vocabulary: Construction, structure, wearable art, base form, armature, papier-mâché, cardboard construction

Activity: 

Students begin constructing their own masks, focusing first on creating strong, well-proportioned base structures. They choose construction methods (cardboard, papier-mâché, or mixed media) based on their intended final design and decoration plans.

Assessment for Learning: Students can

• Create structurally sound mask bases with good proportions
• Demonstrate understanding of construction techniques
• Plan decoration approaches that work with their chosen construction method

Differentiation:

• Students who have not progressed as far: Use simplified construction templates, focus on basic papier-mâché techniques
• Students who have progressed further may: Experiment with complex 3D forms, combine multiple construction techniques

Resources: Cardboard, papier-mâché materials, craft knives, cutting mats, rulers, construction templates

Health and Safety Issues: Craft knife safety protocols, PVA glue ventilation, proper cutting techniques

Lesson 4: Surface Stories – Decorating for Cultural Expression

Learning Objectives: Students will learn…

• How surface decoration communicates cultural meaning
• Advanced painting and mixed media techniques
• Color theory application in cultural context

Key Vocabulary: Surface decoration, cultural symbolism, color significance, mixed media, texture, pattern application

Activity: 

Students develop and apply surface decoration to their mask constructions, incorporating cultural research from earlier lessons. They focus on using color, pattern, and texture to communicate specific cultural meanings or personal identity elements.

Assessment for Learning: Students can

• Apply decoration techniques that enhance their mask’s cultural meaning
• Demonstrate competent painting and mixed media skills
• Explain their color and pattern choices in relation to cultural significance

Differentiation:

• Students who have not progressed as far: Use guided color palettes, focus on simple pattern application
• Students who have progressed further may: Experiment with complex mixed media techniques, develop intricate pattern systems

Resources: Paints, brushes, decorative materials (feathers, sequins, fabric scraps), mixed media supplies

Health and Safety Issues: Paint safety, ventilation, appropriate use of mixed media materials

Lesson 5: Performance Preparation – Masks in Action

Learning Objectives: Students will learn…

• How masks function in performance and cultural celebration
• Documentation skills for recording artistic work
• The relationship between static art and performative art

Key Vocabulary: Performance art, documentation, cultural celebration, movement, gesture, artistic record

Activity: 

Students complete their masks and explore how they function when worn. They practice simple movements and gestures that work with their mask designs, and document their masks both as static objects and in performance through photography or video.

Assessment for Learning: Students can

• Complete well-crafted masks that function effectively when worn
• Demonstrate understanding of how masks work in performance context
• Create clear documentation of their artistic work

Differentiation:

• Students who have not progressed as far: Focus on completing mask construction, simple documentation approaches
• Students who have progressed further may: Develop complex performance elements, experiment with advanced documentation techniques

Resources: Completed masks, cameras/phones for documentation, simple props for performance exploration

Health and Safety Issues: Safe movement in masks (vision considerations), appropriate space for movement exploration

Lesson 6: Cultural Celebration – Exhibiting Transformative Identities

Learning Objectives: Students will learn…

• Curatorial skills for presenting cultural artwork effectively
• Critical evaluation skills for assessing artistic and cultural learning
• How art functions in community building and cultural preservation

Key Vocabulary: Curation, cultural preservation, community building, artistic evaluation, exhibition design, cultural celebration

Activity: 

Students curate a final exhibition of their mask work alongside documentation from throughout the unit. They write reflective statements about their cultural learning journey and participate in a celebratory presentation where masks can be worn and cultural significance shared.

Assessment for Learning: Students can

• Present their work in thoughtfully curated displays
• Articulate their learning about cultural identity and artistic development
• Engage respectfully with peers’ cultural explorations and artistic achievements

Differentiation:

• Students who have not progressed as far: Use guided reflection frameworks, focus on clear presentation of their individual journey
• Students who have progressed further may: Take curatorial leadership roles, create complex exhibition narratives, mentor other students’ reflections

Resources: Display materials, documentation from throughout unit, writing materials, exhibition planning sheets

Health and Safety Issues: Safe mask wearing for presentations, appropriate space for celebration activities

[This unit does not really work. The prompt is inadequate and needs to be rethought, rewritten and resubmitted.It has been left in this set as an example of how poor prompts lead to poor responses.]

Comments: [These lessons state a single activity for each lesson, so it assumes that the teacher is experienced enough to manage that – not spoonfeeding unnecessarily. Does that mean it has taken note of the fact that this is contributing to a departmental discussion between teachers rather than writing definitive lesson plans? Differentiation seems sensible advice to the teacher delivering the lesson. I rather like the fact that anyone using this actually owns their own pedagogy here. But it might be worth adding a bit more to the prompt about ‘activity’.

However, it is primarily about drawing and the prompt probably needs redrafting to bring the focus back to portraiture as well.]

Prompt: You are an experienced senior curriculum leader for art and design, you are also a senior examiner with a UK awarding body. You have served as a curriculum consultant at a national level in England. 

I am the curriculum leader for art and design in a medium-sized, succesful school in a middle class, rural area. Our students are keen to explore their identity but are frustrated by their practical abilities. Girls tend to restrict themselves to archetypical images and boys feel that drawing skills are high status activities.

My colleagues and I wish to refresh a unit of our current Yr 9 curriculum which we feel is too bland and not in tune with the needs of all of our student population. 

This curriculum unit consists of six lessons and is titled ‘Identity’.

This unit is currently described in our curriculum plan as follows below:

[This unit explores portraiture’s power in expressing identity, culture, and belief. Pupils will study artists who challenge stereotypes and explore power, representation, and concealment. They will develop critical thinking while reinforcing respect, tolerance, and self-expression.

This unit builds on prior learning about identity and draws inspiration from the Equality Act 2010 and protected characteristics. Centered on British values, it fosters pupils’ understanding of their own identity and their right to self-identify, promoting tolerance and respect for diversity. The unit also enhances their art skills and critical thinking while introducing how artists explore identity and challenge stereotypes. It lays the groundwork for future discussions on identity, essential for their progression into GCSE, by scaffolding creative conversations around identity and diversity.]

We would like you to help us rewrite this curriculum unit by generating three alternative units of six lessons each. These will help our discussion and inform our options. These units should all take a different approach to systematically developing the practical and observational skills of our students. This will inform their other art experiences and improve their self-esteem. We would wish many of these students to opt to study art and KS4.

Each lesson is an hour long. The lesson plan should follow our normal format and use the following headings:

Learning Objectives: Students will learn..

Key Vocabulary:

Activity:

Assessment for Learning: Students can

Differentiation: 

Students who have not progressed as far

Students who have progressed further may

Resources:

Health and Safety Issues:

Before you begin, is there anything further you need to know?

Response:

[additional contextual information asked for and offered below] 

1, They have good skills for their age. 2. ~It is mostly traditional media. 3. we try to encourage students to draw inspiration ideas from artists past and present. But we would not wish this to be about classical realistic drawing. We would want them to loosen up and be free to experiment with media. 5, We follow the AQA examination 6. We use formative assessment and take assessment for learning seriously.

Thank you — that’s really helpful and gives me a clear sense of your school’s ethos and priorities. Based on what you’ve shared, I will now generate three alternative six-lesson units that systematically develop practical and observational skills, but with different pedagogical approaches:

1. Unit 1: Drawing with Confidence – Observational Skills and Media Play
   (Focus: Building drawing confidence through fast-paced, freeing, iterative practice.)
2. Unit 2: Fragmented Identity – Collage, Mixed Media, and Constructed Portraiture
   (Focus: Building practical and compositional skills through deconstruction and reconstruction.)
3. Unit 3: Hidden Selves – Symbolism, Layers, and Visual Metaphor
   (Focus: Conceptual development using indirect portraiture, symbolism, and layering techniques.)

Unit 1: Drawing with Confidence – Observational Skills and Media Play

Lesson 1: Introduction to Fast Drawing

Learning Objectives: Students will learn to experiment with fast drawing techniques to break perfectionist habits.
Key Vocabulary: Continuous line, gesture drawing, pace, media exploration, mark-making.
Activity: Rapid, timed drawings using continuous line and blind drawing of peers and objects. Introduce a variety of media (graphite, charcoal, biro, soft pastel).
Assessment for Learning: Students can reflect on the looseness and energy of their drawings and discuss which media felt most comfortable/uncomfortable.
Differentiation:

• Students who have not progressed as far may use larger formats to encourage looser work.
• Students who have progressed further may overlay multiple drawings to explore layering.
  Resources: A3/A2 paper, a variety of drawing media, timer.
  Health and Safety Issues: Dust from soft pastels; ensure good ventilation and no ingestion of media.

Lesson 2: Drawing with Non-Dominant Hand

Learning Objectives: Students will learn to draw without over-controlling the process to build resilience and spontaneity.
Key Vocabulary: Dominant hand, non-dominant hand, expressive, accidental marks.
Activity: Draw portraits of their peers using their non-dominant hand. Introduce drawing with sticks, string, or long brushes to extend reach and disrupt fine motor habits.
Assessment for Learning: Students can discuss the emotional impact of the process and identify where the work feels most alive or expressive.
Differentiation:

• Students who need support can focus on basic shapes and outlines.
• Students who have progressed further can combine non-dominant and dominant hand drawings in the same piece.
  Resources: Sticks, string, brushes, variety of paper.
  Health and Safety Issues: Safe use of sticks/extended tools.

Lesson 3: Tonal Drawing with Unusual Media

Learning Objectives: Students will learn to build tone using expressive, non-traditional techniques.
Key Vocabulary: Tone, contrast, texture, layering, resist.
Activity: Use wax, ink washes, chalk, and layered collage papers to create tonal portraits from reference photos or live peers.
Assessment for Learning: Students can evaluate their tonal range and texture within their work.
Differentiation:

• Students who need support can focus on tonal range using a single medium.
• Students who have progressed further may incorporate resist techniques and layered textures.
  Resources: Wax crayons, ink, brushes, water pots, sugar paper, tissue paper.
  Health and Safety Issues: Care with ink spills and water management.

Lesson 4: Drawing Movement

Learning Objectives: Students will learn to capture the energy and gesture of moving figures.
Key Vocabulary: Gesture, rhythm, sequence, proportion, action drawing.
Activity: Quick sequential drawings from peers walking, turning, or posing. Focus on dynamic lines and exaggerated movement.
Assessment for Learning: Students can identify improved fluency and energy in their mark-making.
Differentiation:

• Students who need support can focus on static poses first.
• Students who have progressed further can use overlapping figures to show movement sequences.
  Resources: Large format paper, graphite sticks, charcoal.
  Health and Safety Issues: Ensure clear, safe space for moving students.

Lesson 5: Drawing through Obstruction

Learning Objectives: Students will learn to problem-solve by drawing with deliberate obstructions.
Key Vocabulary: Process, restriction, error, problem-solving, creative block.
Activity: Draw portraits through viewfinders, mirrors, or plastic wrap to partially obscure vision. Draw with hands tied or using limited strokes.
Assessment for Learning: Students can explain how restrictions led to creative breakthroughs or frustration, and reflect on the emotional aspect of the process.
Differentiation:

• Students who need support can work with basic viewfinders.
• Students who have progressed further can invent their own drawing obstructions.
  Resources: Viewfinders, plastic wrap, mirrors, blindfolds.
  Health and Safety Issues: Care with movement when vision is partially obscured.

Lesson 6: Final Personal Drawing

Learning Objectives: Students will consolidate their confidence and media experimentation into a personal, expressive self-portrait.
Key Vocabulary: Expressive, choice, intention, composition, reflection.
Activity: Students plan and create a final piece selecting their preferred approaches from the unit.
Assessment for Learning: Students can articulate their chosen processes and explain how their drawing reflects their identity and confidence.
Differentiation:

• Students who need support can use initial warm-up strategies to scaffold their final piece.
• Students who have progressed further can incorporate multiple techniques from previous lessons.
  Resources: Full range of drawing media, large paper, mirrors, peer photographs.
  Health and Safety Issues: Usual art room protocols.

[This prompt has produced a very clear sequence of drawing progression. The description of the activities is simple. This allows an experienced teacher to make their own decisions about lesson structure. Some teachers might wish to rerun this prompt asking for further details about activities and timing in lessons. The prompt has not generated much focus on portraiture, most teachers will be able to strengthen that in their setting of the task and managing the process.]

Unit 2: Fragmented Identity – Collage, Mixed Media, and Constructed Portraiture

(I can continue with Unit 2 and Unit 3 if you’re happy with this format. Would you like me to proceed?)

You said:

Yes

ChatGPT said:

Thank you — here is the second proposed curriculum unit in the same detailed format.

Unit 2: Fragmented Identity – Collage, Mixed Media, and Constructed Portraiture

(Focus: Building practical and compositional skills through deconstruction and reconstruction)

Lesson 1: Deconstructing the Face

Learning Objectives: Students will learn to break down and reconstruct facial features to challenge perfectionism and traditional portrait norms.
Key Vocabulary: Fragmentation, deconstruction, proportion, montage, juxtaposition.
Activity: Students cut up printed photographs of faces (theirs or peers) into sections and rearrange to create abstracted collages. Quick experiments with shape and placement.
Assessment for Learning: Students can describe how the rearrangement alters identity and mood in their work.
Differentiation:

• Students who need support can start with simple horizontal/vertical slicing.
• Students who have progressed further may experiment with more complex, layered rearrangements.
  Resources: Photocopiers, scissors, glue sticks, scrap paper.
  Health and Safety Issues: Care with scissor use.

Lesson 2: Layering with Mixed Media

Learning Objectives: Students will learn to combine collage, drawing, and painting techniques to develop layered portraits.
Key Vocabulary: Collage, layering, transparency, texture, composition.
Activity: Students build on their collage by adding drawn and painted elements, using tracing paper, tissue, or acetate layers to add transparency and depth.
Assessment for Learning: Students can discuss how layering contributes to meaning and visual interest.
Differentiation:

• Students who need support can focus on simple collage with added line work.
• Students who have progressed further may combine multiple materials and complex layering.
  Resources: Tracing paper, tissue paper, acetate, PVA glue, pencils, pastels.
  Health and Safety Issues: Care with adhesives and layering materials to avoid tearing.

Lesson 3: Drawing Fragments from Observation

Learning Objectives: Students will learn to draw individual facial features and objects linked to identity from direct observation.
Key Vocabulary: Feature, scale, observation, focus, detail.
Activity: Observation-based drawing of isolated features (eyes, hands, mouths) and personal objects (jewellery, clothing, technology).
Assessment for Learning: Students can demonstrate tonal accuracy and careful observation of texture and form.
Differentiation:

• Students who need support can focus on simplified outlines and basic tonal areas.
• Students who have progressed further may explore extreme close-ups and detailed tonal studies.
  Resources: Mirrors, personal objects, a range of drawing media.
  Health and Safety Issues: None beyond usual art room practice.

Lesson 4: Combining Fragments into a New Composition

Learning Objectives: Students will learn to combine drawn fragments and collage into a coherent composition.
Key Vocabulary: Composition, balance, hierarchy, unity, dissonance.
Activity: Students arrange drawn and collaged fragments (including previous lesson outcomes) to build an expressive, constructed portrait.
Assessment for Learning: Students can evaluate their composition’s balance and visual narrative.
Differentiation:

• Students who need support can use guided templates for arrangement.
• Students who have progressed further may develop more abstract or disrupted compositions.
  Resources: Glue sticks, tape, scissors, all prior work.
  Health and Safety Issues: Care with scissors and adhesives.

Lesson 5: Exploring Surface – Adding Texture and Detail

Learning Objectives: Students will learn to enhance their collaged compositions with surface treatments to add texture and visual impact.
Key Vocabulary: Surface, texture, layering, mark-making, scratching, resist.
Activity: Students explore additional surface treatments using scratching, sanding, wax resist, and textural overlays (e.g., fabric, thread, masking tape).
Assessment for Learning: Students can discuss how added texture contributes to meaning and identity.
Differentiation:

• Students who need support can use simple rubbing and mark-making techniques.
• Students who have progressed further may explore stitch, burnishing, or complex surface layering.
  Resources: Sandpaper, wax, masking tape, optional fabric/thread, scissors.
  Health and Safety Issues: Supervise use of sandpaper and scratching tools.

Lesson 6: Final Personal Identity Piece

Learning Objectives: Students will consolidate their collaging, drawing, and textural skills into a personal portrait expressing their identity.
Key Vocabulary: Personal, self-expression, composition, symbolism, process.
Activity: Students plan and create a final mixed media portrait that integrates collage, drawing, and textural techniques from the unit.
Assessment for Learning: Students can justify their compositional choices and explain how their work represents their identity.
Differentiation:

• Students who need support can revisit teacher-led scaffolds and compositional templates.
• Students who have progressed further may develop highly personal, complex, and abstract compositions.
  Resources: All available collage and drawing materials, prior experimental work.
  Health and Safety Issues: Standard art room protocols.

[Teachers will recognise this good sequence of drawing exercises. They may wish to rerun the prompts with a request for more detailed information about the activity in each lesson]

Unit 3: Hidden Selves – Symbolism, Layers, and Visual Metaphor

(Focus: Conceptual development using indirect portraiture and symbolic visual storytelling)

Lesson 1: Identity as Object

Learning Objectives: Students will learn to represent aspects of identity through objects, colours, and symbols rather than direct portraits.
Key Vocabulary: Symbolism, metaphor, association, representation.
Activity: Students select five objects that represent different aspects of themselves (interests, culture, personal memories) and create a symbolic still life drawing.
Assessment for Learning: Students can explain the personal significance of each object.
Differentiation:

• Students who need support can use teacher-curated object sets to select from.
• Students who have progressed further can create more abstract or layered symbolic representations.
  Resources: Mirrors, personal objects, drawing media.
  Health and Safety Issues: None.

Lesson 2: Visual Metaphor Collage

Learning Objectives: Students will learn to use visual metaphor to explore hidden aspects of identity.
Key Vocabulary: Metaphor, juxtaposition, surrealism, association, symbolism.
Activity: Create a collage using magazine images and drawings that represent aspects of identity indirectly (e.g. animal, weather, landscape).
Assessment for Learning: Students can explain the layers of meaning in their work.
Differentiation:

• Students who need support can use starter sheets with example metaphors.
• Students who have progressed further may develop complex, surreal visual combinations.
  Resources: Magazines, glue, scissors, drawing materials.
  Health and Safety Issues: Care with scissors and adhesives.

Lesson 3: Hidden Layers and Concealment

Learning Objectives: Students will learn to use physical layering to conceal and reveal parts of their composition.
Key Vocabulary: Transparency, concealment, opacity, reveal, layering.
Activity: Create a layered image using tracing paper, tissue, and acetates to hide and reveal different parts of a portrait.
Assessment for Learning: Students can reflect on the emotional impact of concealment and revelation in their work.
Differentiation:

• Students who need support can use guided layering sequences.
• Students who have progressed further may build more interactive or complex concealment structures.
  Resources: Tracing paper, tissue, acetates, collage materials, fixative.
  Health and Safety Issues: Care with sprays and adhesives.

Lesson 4: Symbolic Self-Portrait Photography

Learning Objectives: Students will learn to stage and photograph themselves using symbolic props, lighting, and framing.
Key Vocabulary: Composition, framing, perspective, symbolism, mood.
Activity: Students work in pairs to photograph staged symbolic self-portraits using props and backgrounds that reference identity themes.
Assessment for Learning: Students can explain the compositional and symbolic choices in their photographs.
Differentiation:

• Students who need support can follow basic compositional prompts.
• Students who have progressed further may explore more ambitious or experimental photo setups.
  Resources: Digital cameras or tablets, basic lighting (lamps/torches), props.
  Health and Safety Issues: Supervise use of electrical lighting and safe staging areas.

Lesson 5: Combining Media – Print and Photo

Learning Objectives: Students will learn to combine photography, print, and drawing to develop mixed media portraits.
Key Vocabulary: Overlay, combination, transfer, layering.
Activity: Print black and white symbolic photos and layer over with tracing, tissue, or printing techniques (e.g. mono printing or frottage).
Assessment for Learning: Students can reflect on the aesthetic and symbolic impact of their combined media.
Differentiation:

• Students who need support can use simple mono printing techniques.
• Students who have progressed further can explore photo manipulation and more advanced print layering.
  Resources: Photocopiers, printing inks, rollers, tracing paper.
  Health and Safety Issues: Care with printing inks and rollers.

Lesson 6: Final Symbolic Identity Piece

Learning Objectives: Students will consolidate their skills into a final symbolic piece that explores hidden and visible aspects of their identity.
Key Vocabulary: Personal, symbolism, process, interpretation, visual language.
Activity: Create a final mixed media portrait combining drawing, collage, photography, print, and layering, using symbolism throughout.
Assessment for Learning: Students can articulate their personal journey, choices of metaphor, and how these reflect identity.
Differentiation:

• Students who need support can build from pre-prepared templates.
• Students who have progressed further may develop highly personal, ambitious multi-layered outcomes.
  Resources: Full mixed media range, photographs, tracing paper, acetates.
  Health and Safety Issues: General art room protocols.

Next Steps

If you would like, I can help you:

• Develop detailed individual lesson plans or resources.
• Create a progression map linking these units to KS4.
• Provide artist references for each unit (both contemporary and diverse).

Please let me know how you would like to proceed!

[This prompt has led the AI programme to generate a progressive sequence of 3 drawing units (18 lessons), rather than three variations of a single 6 lesson unit. 

Teachers might:

• redraft the prompt by restating the task (6 lessons) and refocussing on ‘portraits’ as the central theme. (see below)
• select aspects of each unit and combine them to create their own 6 lesson unit.
• use these 18 individual lessons as the basis for a sequence of lessons distributed throughout to KS3 curriculum (including homework tasks) which aims to systematically strengthen drawing skills through the key stage.
• accept the additional scaffolding of artist references for each unit offered by the AI programme 

To illustrate how prompts can be adapted through the text messages between the user and the AI programme. The AI programme was told (below) to recognise the most appropriate aspects of the prompt but to regenerate the response to address the identified issues. This it did relatively succesfully]

Additional Prompts:

Thank you. These 3 units represent a good progression of drawing skills from one unit to the next. However, this suggests a total scheme of 18 lessons. Please redraft this to provide 3 distinct, self contained units of work which each present a different approach to portraiture and a different end product of a portrait. These units should provide a self-contained sequence of 6 lessons. Please add further detail to the ‘Activities’ section in two or three sentences. This will help my teachers select and amend their 6 lesson unit.

Second AI Response

Here is your new version, with the detailed lesson plans and expanded activity sections for all three units.

Three Distinct Self-Contained Portraiture Units (Each Six Lessons)

Each unit:

• Stands alone.
• Develops observational and practical skills.
• Focuses on a different approach to portraiture.
• Results in a different final portrait outcome.

Unit 1: The Expressive Line – Drawing the Portrait with Energy

Approach: Fast-paced, freeing observational drawing
End Product: A large-scale expressive self-portrait using experimental drawing techniques.

Lesson 1: Breaking the Rules – Fast Drawing

Learning Objectives: Students will learn to break the habit of perfectionism through fast, timed drawing.
Key Vocabulary: Continuous line, gesture, pace, mark-making.
Activity:
Students rotate around the room completing five-minute continuous line drawings of their peers using a range of media (graphite, biro, charcoal, pastel). They will complete at least four quick drawings per session, focusing on speed and energy rather than accuracy. Encourage playful mark-making and overlapping lines to build confidence.
Assessment for Learning: Students can reflect on which marks felt most expressive and why.
Differentiation:

• Support: Focus on shapes and basic outlines.
• Extend: Layer multiple media or multiple figures.
  Resources: Graphite, biro, pastel, charcoal, A3 paper.
  Health and Safety: Charcoal dust management.

Lesson 2: Disrupting Control – Non-Dominant and Extended Drawing

Learning Objectives: Students will learn to disrupt controlled drawing habits to build expressive confidence.
Key Vocabulary: Non-dominant hand, extension, disruption, freedom.
Activity:
Students will create portraits using their non-dominant hand and drawing tools extended with sticks, string, or long brushes. They will draw at arm’s length or while standing to increase freedom of movement. Quick warm-ups lead to a longer, more considered drawing using a combination of disruptive techniques.
Assessment for Learning: Students can describe emotional responses to loss of control.
Differentiation:

• Support: Focus on simple lines and features.
• Extend: Combine different disruptions in one piece.
  Resources: Sticks, string, various drawing tools.
  Health and Safety: Safe use of extended tools.

Lesson 3: Gesture Drawing and Movement

Learning Objectives: Students will learn to capture the energy of moving figures.
Key Vocabulary: Gesture, movement, sequence, fluidity.
Activity:
Students will take turns posing while their classmates produce rapid gesture drawings focusing on the energy and flow of the body. They will complete a sequence of 20-second, 1-minute, and 5-minute drawings to build speed and fluidity. Students will be encouraged to overlap figures to capture a sense of movement across the page.
Assessment for Learning: Students can evaluate how effectively their drawings capture motion.
Differentiation:

• Support: Static poses first.
• Extend: Overlapping sequential drawings.
  Resources: Large paper, graphite sticks.
  Health and Safety: Clear space for moving students.

Lesson 4: Tonal Drawing with Unusual Tools

Learning Objectives: Students will learn to build tone and texture using experimental media.
Key Vocabulary: Tone, texture, layering, contrast.
Activity:
Students will use sponges, sticks, wax resist, and ink washes to create tonal self-portraits on large paper. They will explore layering washes, scratching back, and adding loose linework over the top. Encourage them to embrace accidents and texture to develop atmosphere and depth.
Assessment for Learning: Students can assess tonal range and texture.
Differentiation:

• Support: Focus on basic tonal range.
• Extend: Incorporate resist and layering.
  Resources: Ink, wax, sponges, brushes, large paper.
  Health and Safety: Manage ink and water use.

Lesson 5: Developing Final Expressive Portrait

Learning Objectives: Students will learn to synthesise techniques into a personal portrait.
Key Vocabulary: Composition, expression, scale, selection.
Activity:
Students will choose their preferred combination of experimental techniques from the unit to plan their final self-portrait. They will create several thumbnail composition sketches before starting their large-scale final piece. Emphasis will be on scale, boldness, and freedom of mark-making.
Assessment for Learning: Students can explain their media choices and how they reflect their identity.
Differentiation:

• Support: Use guided composition templates.
• Extend: Develop multi-layered or mixed media approaches.
  Resources: All drawing materials.
  Health and Safety: Standard art room practice.

Lesson 6: Final Portrait Completion and Reflection

Learning Objectives: Students will complete and evaluate a final expressive portrait.
Key Vocabulary: Reflection, evaluation, process, outcome.
Activity:
Students will complete their final expressive self-portrait and take part in a peer critique session using structured feedback prompts. They will write short reflections on their process, what they found challenging, and which techniques helped them express themselves most effectively.
Assessment for Learning: Students can reflect on their process and discuss how they pushed their skills.
Differentiation:

• Support: Use peer feedback to guide refinements.
• Extend: Incorporate further layering or complex marks.
  Resources: Full range of drawing materials.
  Health and Safety: Standard practice.

Unit 2: Fragmented Faces – Collage and Constructed Portraiture

Approach: Mixed media, collage, deconstruction and reconstruction
End Product: A fragmented, collaged portrait using mixed drawing and collage materials.

Lesson 1: Fragmenting the Face

Learning Objectives: Students will learn to deconstruct portraits through cutting, rearranging, and collage.
Key Vocabulary: Fragmentation, montage, juxtaposition, disruption.
Activity:
Students will cut up photocopies of themselves and their peers into strips, squares, and organic shapes, then rearrange these to create fragmented collage portraits. They will produce several experimental arrangements before committing to a final composition. Students are encouraged to explore both symmetry and disjointed layouts to distort and challenge traditional portrait structures.
Assessment for Learning: Students can describe how rearrangement alters identity.
Differentiation:

• Support: Simple slicing and reassembly.
• Extend: Multi-layered, complex compositions.
  Resources: Photocopies, scissors, glue, paper.
  Health and Safety: Scissor use supervision.

Lesson 2: Layering with Transparency

Learning Objectives: Students will learn to add depth and meaning through layering translucent materials.
Key Vocabulary: Transparency, layering, concealment, texture.
Activity:
Students will build on their collage portraits by adding translucent layers using tracing paper, tissue, and acetate. They will draw over and beneath these layers to integrate the collage and create depth. The layering will help to develop meaning by concealing and revealing elements of the face.
Assessment for Learning: Students can evaluate visual depth and symbolic concealment.
Differentiation:

• Support: Guided overlays.
• Extend: Experiment with complex layering.
  Resources: Tracing paper, tissue, acetate, glue, pencils.
  Health and Safety: Adhesive use management.

Lesson 3: Observational Drawing of Features

Learning Objectives: Students will learn to draw facial features and personal objects from observation.
Key Vocabulary: Observation, proportion, feature, texture.
Activity:
Students will draw individual facial features and identity-linked objects from direct observation using a variety of drawing media. They will practice drawing details such as eyes, mouths, hands, and personal items like jewellery or tech. The aim is to build high-quality drawings that will later be cut, layered, and integrated into their collage portraits.
Assessment for Learning: Students can assess accuracy and texture in their drawings.
Differentiation:

• Support: Focus on outlines and basic tones.
• Extend: Use close-up viewpoints and detailed shading.
  Resources: Mirrors, objects, various drawing media.
  Health and Safety: None.

Lesson 4: Assembling the Fragmented Portrait

Learning Objectives: Students will learn to compose a mixed media portrait combining collage and drawing.
Key Vocabulary: Composition, balance, hierarchy, layering.
Activity:
Students will begin constructing their final fragmented portrait by assembling their collaged, layered, and drawn elements into a carefully considered composition. They will test placements, explore overlaps, and adjust their layout to ensure balance and visual interest before fixing it permanently.
Assessment for Learning: Students can explain compositional choices.
Differentiation:

• Support: Guided composition.
• Extend: Explore abstraction and disrupted visual flow.
  Resources: Glue, collage materials, drawing media.
  Health and Safety: Standard protocols.

Lesson 5: Adding Surface Detail and Texture

Learning Objectives: Students will learn to enrich surfaces using texture and unconventional materials.
Key Vocabulary: Texture, surface, resist, scratching.
Activity:
Students will enhance their portraits using resist, scratching, sanding, and additional layering materials such as masking tape, fabric, or stitching. They will focus on developing a rich surface texture and exploring physical depth. Students will use deliberate abrasion and mark-making to ‘distress’ the surface in expressive ways.
Assessment for Learning: Students can discuss the impact of texture on meaning.
Differentiation:

• Support: Simple rubbing and texture techniques.
• Extend: Incorporate mixed stitching, layered burnishing.
  Resources: Wax, sandpaper, optional thread, masking tape.
  Health and Safety: Care with sandpaper and adhesives.

Lesson 6: Final Collaged Portrait Completion and Critique

Learning Objectives: Students will complete and evaluate their final fragmented portraits.
Key Vocabulary: Evaluation, presentation, reflection, audience.
Activity:
Students will complete their final collaged portrait and participate in a peer critique using success criteria and scaffolded questioning. They will reflect on how their use of fragmentation, layering, and surface texture communicates aspects of their identity.
Assessment for Learning: Students can reflect on how the process and composition represent identity.
Differentiation:

• Support: Scaffolded self-evaluation.
• Extend: Develop artist’s statements.
  Resources: All mixed media.
  Health and Safety: Standard practice.

Unit 3: Symbolic Selves – Portraits Through Metaphor

Approach: Symbolism, indirect portraiture, visual metaphor
End Product: A symbolic portrait using photography, drawing, collage, and layered media.

Lesson 1: Identity Through Objects

Learning Objectives: Students will learn to select and draw objects that represent aspects of their identity.
Key Vocabulary: Symbolism, metaphor, representation, object portrait.
Activity:
Students will select three to five personal or symbolic objects that represent their identity and create detailed observational drawings of them. Objects may include cultural items, clothing, tech, books, or symbols of their interests. Students will produce high-quality drawings that will become key components of their final portrait.
Assessment for Learning: Students can explain object choices and symbolic meanings.
Differentiation:

• Support: Use teacher-curated object collections.
• Extend: Develop more abstract or layered symbolism.
  Resources: Objects, drawing materials, mirrors.
  Health and Safety: None.

Lesson 2: Visual Metaphor Collage

Learning Objectives: Students will learn to develop indirect portraiture using visual metaphor.
Key Vocabulary: Metaphor, juxtaposition, surrealism, concealment.
Activity:
Students will build a visual metaphor collage using magazine images, drawings, and printed photos. They will be encouraged to think about what different images symbolise (e.g., an animal representing strength, a landscape representing peace). They will combine images in unexpected ways to develop symbolic meanings.
Assessment for Learning: Students can articulate the metaphor in their work.
Differentiation:

• Support: Scaffolded metaphor ideas.
• Extend: Create surreal and complex metaphoric combinations.
  Resources: Magazines, glue, scissors, drawing media.
  Health and Safety: Scissor and adhesive care.

Lesson 3: Staged Symbolic Self-Portrait Photography

Learning Objectives: Students will learn to stage symbolic self-portraits using photography.
Key Vocabulary: Staging, composition, lighting, symbolism.
Activity:
Students will work in pairs to plan and stage self-portraits using symbolic props, backdrops, and lighting to create mood and meaning. They will photograph each other, carefully considering composition and framing. Students may also experiment with point of view, cropping, and body language to communicate identity indirectly.
Assessment for Learning: Students can justify prop and composition choices.
Differentiation:

• Support: Use provided prompts and simple staging.
• Extend: Develop creative lighting and ambitious setups.
  Resources: Digital cameras, lighting equipment, props.
  Health and Safety: Safe staging areas, supervised lighting.

Lesson 4: Mixed Media – Drawing Over Photography

Learning Objectives: Students will learn to combine photography with drawing and collage to deepen meaning.
Key Vocabulary: Overlay, transfer, layering, intervention.
Activity:
Students will print their staged photographs and draw over them using tracing paper overlays, collage, and mixed media interventions. They will layer drawings, symbols, and textures over the photographs to create a rich, multi-layered portrait that combines reality with symbolism.
Assessment for Learning: Students can reflect on the impact of combining photography and hand-drawn marks.
Differentiation:

• Support: Guided overlays and simple additions.
• Extend: Experiment with mono-printing, transfers.
  Resources: Photocopiers, tracing paper, collage media, drawing materials.
  Health and Safety: Manage adhesives and fixatives.

Lesson 5: Developing Final Symbolic Portrait

Learning Objectives: Students will learn to plan and develop a final layered symbolic portrait.
Key Vocabulary: Symbolism, composition, layering, process.
Activity:
Students will plan and start their final symbolic portrait, combining elements from photography, collage, drawing, and layered materials. They will make key decisions about composition, layering order, and symbolic references, using thumbnail sketches and planning sheets to support their development.
Assessment for Learning: Students can explain their creative decisions and symbolism.
Differentiation:

• Support: Guided composition templates.
• Extend: Develop ambitious layering and complex symbols.
  Resources: All mixed media and prior work.
  Health and Safety: Standard practice.

Lesson 6: Final Portrait Completion and Presentation

Learning Objectives: Students will complete and present their symbolic portrait, reflecting on process and meaning.
Key Vocabulary: Evaluation, symbolism, presentation, process.
Activity:
Students will complete their final symbolic portrait and present their work to the class in a mini ‘gallery walk.’ They will write short artist’s statements explaining their chosen symbols and how these represent aspects of their identity. Peer and self-assessment will focus on clarity of symbolism and creative combinations of media.
Assessment for Learning: Students can articulate their use of visual metaphor and personal symbolism.
Differentiation:

• Support: Scaffolded critique questions.
• Extend: Write an artist’s statement.
  Resources: Full media range.
  Health and Safety: Standard practice.

If you would like, I can now:

• Suggest artist references for each unit
• Create assessment rubrics and self/peer assessment templates
  
• Develop lesson resources (e.g. planning sheets, gallery walk prompts)

Let me know how you would like to proceed!

[These provide good sequences of techniques to open up expressive responses and use them to develop personal work. Art teachers will recognise these and readily appreciate the sequencing of these lessons. The AI programme has not provided much information about the emotional purpose or context of these portraits, and was not asked to do so in the prompt. The programme offers further scaffolding by identifying artists and resources that might illuminate the emotional impact of some of these techniques. It is also likely that the teachers would be better placed to contribute to this aspect of the units.]

These units now clearly stand alone and draw students ntowards a distinct final personal response. The additional prompt resolved the issue.

These units fit an art department rooted in drawing and traditional expressive art skills.