Photographics 10, Photography 20, 30 and Graphic Arts 20, 30 Curriculum Guide

Transcription

1 Saskatchewan Learning Photographics 10, Photography 20, 30 and Graphic Arts 20, 30 Curriculum Guide A Practical and Applied Art Saskatchewan Learning 2002 ISBN: X

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3 Acknowledgements Saskatchewan Learning gratefully acknowledges the professional contributions and advice given by the following members of the Practical and Applied Arts (PAA) Reference Committee: Jerry Cherneski, Instructor SIAST Palliser Campus Hazel Lorenz LandsWest S.D. #113 Saskatchewan Teachers' Federation (STF) Saskatchewan Career/Work Experience Association (SCWEA) Dean Lucyk, Teacher Regina RCSSD #81 Saskatchewan Teachers' Federation Saskatchewan Industrial Education Association (SIEA) Barbara McKinnon, Teacher Moose Jaw S.D. #1 Saskatchewan Teachers' Federation Saskatchewan Business Teachers Association (SBTA) Lance Moen, Dean Associated Studies SIAST Kelsey Campus Rose Olson, Trustee Saskatchewan School Trustees Association (SSTA) Dr. Len Proctor Professor, College of Education University of Saskatchewan Dr. Kevin Quinlan Professor, Faculty of Education University of Regina Ron Provali Teacher/Principal Potashville S.D. #80 Saskatchewan Teachers Federation Saskatchewan Association of Computers in Education (SACE) Doug Robertson Lloydminster RCSSD #89 League of Educational Administrators, Directors and Superintendents (LEADS) Gayleen Turner, Teacher Swift Current Comprehensive High School Board Saskatchewan Teachers' Federation Saskatchewan Home Economics Teachers Association (SHETA) Previous members: Susan Buck, SIAST Laurent Fournier, SSTA Morris Smith, LEADS Dave Spencer, LEADS Ron Wallace, SCWEA Debbie Ward, SSTA Saskatchewan Learning wishes to thank many others who contributed to the development of these guidelines: Jay Dolmage seconded developer/writer; Indian Head SD #19 Cam Sikorsky, contracted developer/writer; Saskatoon School District #13 the PAA Program Team; field test/pilot teachers; and, other field personnel. This document was completed under the direction of the Science and Technology Unit, Curriculum and Instruction Branch, Saskatchewan Learning. i

4 Table of Contents Acknowledgements... i Introduction... 1 Philosophy and Rationale... 1 Aim, Goals and Foundational Objectives... 1 Common Essential Learnings (CELs)...3 Course Components and Considerations...3 Program Delivery...4 Work Study Component...4 Creating Partnerships for Work Study...4 Portfolios...5 Extended Study Modules...6 Instructional Resources...6 Assessment and Evaluation... 7 Photography Course Module Overview... 8 Suggested Course Configuration Photography Route...9 Graphic Arts Module Overview...11 Suggested Course Configuration Graphic Arts Route Core and Optional Modules...14 Module 1: Introduction to Photography and Graphic Arts (Core) Module 2: Fundamental Camera Controls (Core) Module 3: Types of Cameras (Core) Module 4: Black and White Photographic Films (Core) Module 5A, B, C: Safety (Core) Module 6: Black and White Film Development and Chemistry (Core) Module 7: Controlling Composition and Exposure (Core) Module 8: Camera Lenses and Related Accessories (Core) Module 9: Introduction to Digital Photography (Optional) Module 10: Printing Papers: Black and White and Colour (Core) Module 11: Producing a Black and White Print (Core) Module 12: Career Development Opportunities (Core) Module 13: Artificial Lighting Electronic Flash (Core) Module 14: Additional Black and White Printing Techniques (Core) Module 15: Colour Photographic Films (Core) Module 16: Intermediate Digital Photography (Optional) Module 17: Digital Manipulation (Optional) Module 18: Critiquing Photographs (Core) Module 19: Professional Presentation Portfolios (Core) Module 20: Colour Film Development Negatives (Core) Module 21: Colour Film Development Reversal Processing (Core) Module 22: Darkroom Colour Printing Techniques (Optional) Module 23: Commercial Photography (Core) Module 24: Photojournalism (Optional) Module 25: Studio Lighting (Optional) Module 26: Photography and Advertising (Optional) Module 27: Portraiture (Core) Module 28: Advanced Digital Photography (Optional) Module 29: Advanced Digital Manipulation (Optional) Module 30: Mounting, Matting and Framing (Optional) Module 31: History of Photography (Optional) Module 32: Retouching and Hand Colouring (Optional) Module 33: Taking Care of Business (Optional) Module 34: History of Printing (Optional) Module 35: Introduction to Graphic Design (Core) Module 36: Introduction to Graphic Mechanical Layout (Core) Module 37: Computer-Aided Graphic Design (Core) ii

5 Module 38: Packaging (Core) Module 39: Scanning and Design (Core) Module 40: Introduction to Airbrushing (Core) Module 41: Colour Uses by Designers (Core) Module 42: Outdoor Advertising (Core) Module 43: Introductory Screen Process Printing (Core) Module 44: Intermediate Screen Process Printing (Optional) Module 45: Intermediate Airbrush, Beyond the Basics (Optional) Module 46: Portraits that Flatter (Optional) Module 47: Be an Art Director (Optional) Module 48: Complex Layout (Optional) Module 49: Business Promotion Package (Core) Module 50: Cover Design (Core) Module 51: Scanning and Colour Correction (Optional) Module 52: Magazine Advertising (Core) Module 53: Advanced Airbrush Skills (Optional) Module 54: Cartooning (Optional) Module 55: Advanced Screen Process Printing (Optional) Module 56A, B, C, D, E: Work Study Preparation and Follow-up Activities (Optional) Module 57A, B, C, D, E: Work Study (Optional) Module 99A, B, C, D, E: Extended Study (Optional) References Appendix A: Articulation Appendix B: Sample Module Recordkeeping Charts Photographics Photography Photography Graphic Arts Graphic Arts Appendix C: Career Research Interview Questions Appendix D: Sample Critique Form Appendix E: Troubleshooting Portraits Appendix F: Preparing Water Based Screen Inks iii

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7 Introduction Within Core Curriculum, the Practical and Applied Arts (PAA) is a major area of study that incorporates five traditional areas of Business Education, Computer Education, Home Economics Education, Industrial Arts Education, and Work Experience Education. Saskatchewan Learning, its educational partners, and other stakeholders have collaborated to complete the PAA curriculum renewal. Some PAA curriculum guides have been updated. Some components of the PAA have been integrated, adapted, or deleted. Some Locally Developed Courses have been elevated to provincial status; and some new curriculum guides have been developed. A companion Practical and Applied Arts Handbook provides background on Core Curriculum philosophy, perspectives, and initiatives. The PAA Handbook articulates a renewed set of goals for PAA. It presents additional information about the PAA area of study, including guides about work study and related Transition-to-Work dimensions. In addition, a PAA Information Bulletin provides direction for administrators and others regarding the implementation of PAA courses. Lists of recommended resources for all guides will be compiled into a PAA Bibliography that will be periodically updated. Philosophy and Rationale Every day people are bombarded by photographic images. A better understanding of the skills and equipment used to create images can enrich the lives of students. Students enrolled in Photographics 10, Photography 20, 30 will have the opportunity to learn about the evolution of photography from pin hole to digital cameras, experiment with equipment and materials used to produce still photographs, and develop a critical awareness of good photographic techniques. The field of photography can lead to a variety of employment opportunities and to a very satisfying personal interest. The graphic arts industry encompasses a wide range of skills and technologies. All printed materials including paper, textiles, clothing, objects, boxes, etc. are the end products of the industry. Students enrolled in Photographics 10, Graphic Arts 20, 30 will have the opportunity to learn about the evolution of printing, to use equipment, techniques, materials and processes used in the industry, and to develop an awareness of the many opportunities, both personal and professional, portended by the skills and knowledge learned. Aim, Goals and Foundational Objectives Aim The aim of the Photographics 10, Photography 20, 30 and Graphic Arts 20, 30 curriculum is to provide students with opportunities to acquire knowledge and develop skills used in the photography and graphic arts industries and to become familiar with career opportunities in these industries. Goals Awareness: To develop an appreciation for photography and graphic arts and to explore some occupations and locations where this awareness may be used. Technological Skills: To develop technical skills to learn about new technologies and their impact on photography and/or the graphic arts industries using traditional and digital equipment. Communication: To develop communication skills using technical vocabulary in context when relating to customers and employers. Independent Learning: To promote a desire for life-long learning and independent work practices. Accountability: To instill a sense of responsibility for and pride in one s work. 1

8 Career Development: To develop an awareness of the post secondary training opportunities and to explore various occupations available to students in the fields of photography and/or graphic arts, to support students in making career decisions. Personal Management Skills: To enhance self-esteem through success with the production equipment, materials and techniques used. Foundational Objectives Foundational objectives are the major, general statements that guide what each student is expected to achieve for the modules of the PAA curriculum guides. Foundational objectives indicate the most important knowledge, skills, attitudes/values, and abilities for a student to learn in a subject. The Foundational Objectives for Photographics 10, Photography 20, 30, Graphic Arts 20, 30 and the Foundational Objectives for the Common Essential Learnings (CELs) are stated in this document. Some of these statements may be repeated or enhanced in different modules for emphasis. The Foundational Objectives of the Core Modules of the Photographics 10, Photography 20, 30 and Graphic Arts 20, 30 curriculum include: To create an awareness of the processes and uses of photography and graphic arts. To critique photographic work as a means of evaluation. To work safely and cooperatively with other students and handle materials in a safe manner. To explore a variety of presentation formats used to display photographic work. To understand the properties of light and how those properties affect image production. To develop an appreciation for photography as an art form. To use digital technology in the production of photographic and graphic art work. To foster an awareness of quality and practise good techniques. To become knowledgeable about career development opportunities related to photography and/or graphic arts industries. To maintain a working portfolio and assemble a presentation portfolio. To develop an understanding of the skills needed to operate a business. To apply the elements and principles of design in photography and/or graphic arts. To examine the issues surrounding safe, fair, and cooperative workplace practices. To identify and explain health and safety hazards in the workplace so that the potential for personal injury and damage to the equipment and the environment are minimized. To develop skills associated with a variety of tools, materials and techniques used in the graphic arts industry. To identify and explain health and safety hazards in the workplace so that the potential for personal injury and damage to the equipment and the environment are minimized. To work safely and cooperatively with other students and handle materials in a safe manner. To understand and use the vocabulary and forms of expression related to photography or graphic arts. To foster an awareness of quality as it pertains to image development and production. To develop an understanding of the impact of new technologies on the photography and graphic arts industry. To develop an awareness of ethical and legal issues, such as copyright. To develop proficiency with the production equipment, materials and techniques used. To examine the effect of the elements and principles of design in graphic design. To use digital technology in the production of photographic work. 2

9 Common Essential Learnings (CELs) The incorporation of the Common Essential Learnings (CELs) into the instruction and assessment of the Practical and Applied Arts (PAA) curriculum offers many opportunities to develop students knowledge, skills, and abilities. The purpose of the CELs is to assist students with learning the concepts, skills, and attitudes necessary to make transitions to career, work, and adult life. The CELs establish a link between the Transition to-work dimensions and Practical and Applied Arts curriculum content. The Transition-to-Work dimensions included in the PAA curricula are: apprenticeship, career exploration/development, community project(s), employability skills, entrepreneurial skills, occupational skills, personal accountability, processing of information, teamwork, and work study/experience. Throughout the PAA curricula, the CELs objectives are stated explicitly at the beginning of each module and are coded in this document, as follows: Common Essential Learnings (CELs) Coding COM = Communication NUM = Numeracy CCT = Critical and Creative Thinking TL = Technological Literacy PSVS = Personal and Social Values and Skills IL = Independent Learning Although certain CELs are to be emphasized in each module, as indicated by the CELs Foundational Objectives, other interrelated CELs may be addressed at the teacher s discretion. Course Components and Considerations Each secondary level credit for Photographics 10, Photography 20, 30 and Graphic Arts 20, 30 is based on 100 hours of instruction. Teachers need to review the material and equipment needs for each module and then take an inventory of the resources available at the school and in the community before choosing the modules that they will teach. Teachers are encouraged to pursue community partnerships to support work study opportunities for students, to use local speakers or mentorships and to access other resources within the local community. 3

10 Modules were designed for a 500 hour Photography and Graphic Arts course. The course developed for the Introductory level (10) provides access to further studies in Photography, the Photography focus leading to a career opportunity as a Photographer, or the Graphic Arts focus leading to a career in the Graphic Arts industry. Photographics 10 (100 hours) Photography 20 (100 hours) Graphic Arts 20 (100 hours) Photography 30 (100 hours) Graphic Arts 30 (100 hours) Program Delivery These courses may be delivered in a variety of ways and venues involving classroom instruction, computer assisted instruction, laboratory activities and industrial work sites. They lend themselves well to coordination with work study programs and industry partnerships. They provide opportunities for students who are interested in pursuing a photography or graphic arts career path or for self-interest. Work Study Component This module permits the student to apply school-based learning to workplace settings in the community. Students are provided with an opportunity to experience the optional work study component through appropriate placements. Work Study Preparation and Follow-up Activities must be covered prior to and following the Work Study module. The Practical and Applied Arts Handbook has detailed information in the Work Study Guidelines. Students who have previously taken a work study module may cover content developed by Saskatchewan Labour found in the Career and Work Exploration Curriculum Guide and the Practical and Applied Arts Handbook. These content references include: Labour Standards Occupational Health and Safety Act Workplace Hazardous Materials Information System (WHMIS). Creating Partnerships for Work Study Partnerships are important to the success of the work study component. The three distinct partners that play an important role are the community business, the school, and the student. Personal contact is the best approach to building partnerships. One should begin by making a presentation to colleagues within the school, to the student body, to school board members, to parents, and to local 4

11 businesses. Follow up in-school sessions with community meetings with similar topics on the agenda. It is important to outline the curriculum and the benefits and responsibilities for each of the partners. See the modules outlined in the curriculum and the Work Study Guidelines in the Practical and Applied Arts Handbook for further information on work study. Portfolios The courses in Photography and Graphic Arts are excellent opportunities to develop portfolios. A portfolio is a valuable organizer of student projects and assignments. It encourages students to collect examples of their work as they progress through the various activities, labs, and projects. Selecting particular items to include in a portfolio encourages students to reflect on what they have learned or accomplished and what they have yet to learn. Portfolio items may include: journal notes, drafts, photographs, audio or videotapes, computer files, sketches and drawings, etc. Portfolios may be used for peer, teacher, self-assessment, and as a format to present selected works to parents, post-secondary institutions, or potential employers. In addition, the portfolio can demonstrate the links among home, school and community in the student s education. Each student should develop a portfolio representing his or her work during the course. Portfolios are a requirement for entrance into some post-secondary programs and courses at SIAST, including the Applied Photography and Media Arts Production programs. The portfolio can help students: reflect on personal growth and accomplishment see links between home, school and community education and activities collect materials to prepare applications for post-secondary education and scholarship program entrance collect materials to prepare for employment applications focus on career planning. The portfolio can help teachers: provide a framework for independent learning strategies for the student communicate student learning from one school year to another in a specific area of study identify career planning needs for students assess and evaluate the student s progress and achievement in a course of study The portfolio can help post-secondary institutions: to determine suitable candidates for awards and scholarships to evaluate candidates for program entrance to evaluate prior learning for program placement The portfolio can help communities: reflect on their involvement in a student s education and the support offered to learners demonstrate a link between the home, school, and community in education The portfolio can help potential employers: identify employable skills desired in future employees provide evidence of knowledge and skill development of potential employees For purposes of Practical and Applied Arts courses, three kinds of portfolios may be valuable: a working portfolio to collect ideas observations, notes and critiques, a presentation portfolio to maintain completed work, and a personal career portfolio designed to help support transitions to further education and training or employment. By keeping track of this material, students are able to monitor their level of achievement. Additions to and revisions of the portfolio should be done at the end of each module. Working Portfolio Students collect work over time in a working folder. Each student should also keep a journal of observations, critiques, ideas, and reflections as part of his or her working portfolio. Items in this portfolio may be used for the purpose of reflection, ongoing and summative, peer, teacher and self-evaluations. 5

12 Working portfolios may be used for purposes of conferencing between student and teacher, teacher and parent, teacher and teacher, or student and student. When a teacher examines a student s portfolio in order to make a decision regarding student progress, the information it contains may become documented evidence for the evaluation. A daily journal may also become a part of a working portfolio as a means of tracking the student s use of time and to record progress on ideas that are being developed. This will provide the student with a focus for self-directed or independent learning as well as an anecdotal record for part of the course evaluation. Presentation Portfolio To compile a presentation portfolio, students should select items from their working portfolio. The presentation portfolio should cover the range of students experiences and should display their best efforts. The preparation of a presentation portfolio can be an assessment strategy. It is strongly suggested that students at the 30 level prepare a presentation portfolio suitable for submission to potential employers or post-secondary institutions. Acceptance and placement in programs and courses at SIAST can be significantly influenced by a student s presentation portfolio. Through collecting, selecting and reflecting, students are able to compile presentation portfolios that display their best collection of work. A daily journal may also become a part of a working portfolio as a means of tracking the student s use of time and to record progress on ideas that are being developed. This will provide the student with a focus for self-directed or independent learning as well as an anecdotal record for part of the course evaluation. Extended Study Modules The extended study module is designed to provide schools with an opportunity to meet current and future demands that are not addressed by current modules in the renewed PAA curriculum. The flexibility of this module allows a school or school division to design one new module per credit to complement or extend the study of existing pure core modules and optional modules. The extended study module is designed to extend the content of the pure courses and to offer survey course modules beyond the scope of the selection of PAA modules. The list of possibilities for topics of study or projects for the extended study module approach is as varied as the imagination of those involved in using the module. The optional extended study module guidelines, found in the Practical and Applied Arts Handbook, should be used to strengthen the knowledge, skills and processes advocated in the Practical and Applied Arts curriculum in which the extended study module is used. It is recommended that a summary of any extended study module be sent to the Regional Superintendent of Curriculum and Instruction to establish a resource bank of module topics. For more information on the extended study module, refer to the Practical and Applied Arts Handbook. Instructional Resources To support the principle of Resource-based Learning, a variety of instructional resources have been evaluated and recommended. See Photographics 10, Photography 20, 30 and Graphic Arts 20, 30: An Initial List of Implementation Materials for a list of annotated resources. Teachers should also consult the comprehensive PAA bibliography. The annual Learning Resource Materials Update can also provide information about new materials evaluated since the curriculum was printed. To order materials, except videos, teachers should also consult the department s Learning Resources Distribution Centre (LRDC) catalogue. An on-line ordering service is available at lrdc.sasked.gov.sk.ca. 6

13 The on-line version of this Guide and the accompanying list of implementation materials is accessible at It will be Evergreened, as appropriate. Assessment and Evaluation Student assessment and evaluation is an important part of teaching, as it allows the teacher to plan and adapt instruction to meet the specific needs of each student. It also allows the teacher to discuss the current successes and challenges with a student and report progress to the parent or guardian. It is important that teachers use a variety of assessment and evaluation strategies to evaluate student progress. Additional information on evaluation of student achievement can be found in the Saskatchewan Learning documents entitled Student Evaluation: A Teacher Handbook (1991) and Curriculum Evaluation in Saskatchewan (1991). It is important that the teacher discuss with students the evaluation strategies to be used in the course, when the evaluation can be expected to occur, the weighting of each evaluation strategy, and how it relates to the overall student evaluation. The weighting of the evaluation should be determined in relation to the amount of time spent and emphasis placed on each area of the course, as suggested in these curriculum guides. The Photographics 10, Photography 20, 30 and Graphic Arts 20, 30 Curriculum Guide provides many opportunities for teachers to use a variety of instructional and evaluation strategies. Evaluation instruments used in the teaching of this course are included the Practical and Applied Arts Handbook. Sample copies of overall evaluation for the course, evaluation for general student skills and work study are included for teachers to adapt and use. Here is a sample evaluation scheme: Tests (written) 10% Project work 20% Presentation Portfolio 20% Homework and Assignments 10% Personal Career Portfolio 10% Classroom Presentations 15% Work Study (Optional) 15% As discussed in the Practical and Applied Arts Handbook there are three main types of student evaluation: diagnostic, formative, and summative. Diagnostic evaluation usually occurs at the beginning of the school year or before a unit of instruction to identify prior knowledge, interests or skills of students about the subject area. Formative evaluation is an ongoing classroom process that keeps students and educators informed of students progress. Summative evaluation occurs most often at the end of a module, to determine what has been learned over a period of time. For information about program evaluation refer to Saskatchewan School-Based Program Evaluation Resource Book (1989). 7

14 Photography Course Module Overview Module Code Modules Suggested Time (hours) PHGA01 Module 1: Introduction to Photography and Graphic Arts (Core) 3-5 PHGA02 Module 2: Fundamental Camera Controls (Core) 5-10 PHGA03 Module 3: Types of Cameras (Core) 5-8 PHGA04 Module 4: Black and White Photographic Films (Core) 5-10 PHGA05A, B, C Module 5A, B, C: Safety (Core) 3-5 PHGA06 Module 6: Black & White Film Development and Chemistry (Core) PHGA07 Module 7: Controlling Composition and Exposure (Core) PHGA08 Module 8: Camera Lenses and Related Accessories (Core) 5-10 PHGA09 Module 9: Introduction to Digital Photography (Optional) 7-10 PHGA10 Module 10: Printing Papers: Black and White and Colour (Core) PHGA11 Module 11: Producing a Black & White Print (Core) PHGA12 Module 12: Career Development Opportunities (Core) 3-5 PHGA13 Module 13: Artificial Lighting - Electronic Flash (Core) 5-10 PHGA14 Module 14: Additional Black and White Printing Techniques (Core) PHGA15 Module 15: Colour Photographic Films (Core) 5-10 PHGA16 Module 16: Intermediate Digital Photography (Optional) PHGA17 Module 17: Digital Manipulation (Optional) PHGA18 Module 18: Critiquing Photographs (Core) 3-5 PHGA19 Module 19: Professional Presentation Portfolios (Core) 5-10 PHGA20 Module 20: Colour Film Development - Negatives(Core) PHGA21 Module 21: Colour Film Development Reversal Processing (Core) PHGA22 Module 22: Darkroom Colour Printing Techniques (Optional) PHGA23 Module 23: Commercial Photography (Core) 5-10 PHGA24 Module 24: Photojournalism (Optional) 5-10 PHGA25 Module 25: Studio Lighting (Optional) PHGA26 Module 26: Photography and Advertising (Optional) 5-10 PHGA27 Module 27: Portraiture (Core) PHGA28 Module 28: Advanced Digital Photography (Optional) 3-5 PHGA29 Module 29: Advanced Digital Manipulation (Optional) 5-10 PHGA30 Module 30: Mounting, Matting and Framing (Optional) PHGA31 Module 31: History of Photography (Optional) 3-5 PHGA32 Module 32: Retouching and Hand Colouring (Optional) 5-10 PHGA33 Module 33: Taking Care of the Business (Optional) PHGA56A, B, C Module 56A, B, C: Work Study Preparation and Follow-up Activities 5-10 (Optional) PHGA57A, B, C Module 57A, B, C: Work Study (Optional) PHGA99A, B, C Module 99A, B, C: Extended Study Module (Optional)

15 Suggested Course Configuration Photography Route Module Code Modules Suggested Time (hours) Photographics 10 Introductory PHGA01 Module 1: Introduction to Photography and Graphic Arts (Core) 3-5 PHGA02 Module 2: Fundamental Camera Controls (Core) 5-10 PHGA03 Module 3: Types of Cameras (Core) 5-8 PHGA04 Module 4: Black and White Photographic Films (Core) PHGA05A Module 5A: Safety (Core) 1-3 PHGA06 Module 6: Black & White Film Development and Chemistry (Core) PHGA07 Module 7: Controlling Composition and Exposure (Core) PHGA09 Module 9: Introduction to Digital Photography (Optional) 7-10 PHGA11 Module 11: Producing a Black and White Print (Core) PHGA12 Module 12: Career Development Opportunities (Core) 3-5 PHGA17 Module 17: Digital Manipulation (Optional) 5-10 DRAF03 Module 3: Freehand Sketching and Drawing (Optional) 5-15 PHGA35 Module 35: Introduction to Graphic Design (Core) 3-5 PHGA36 Module 36: Introduction to Graphic Mechanical Layout (Optional) 3-5 PHGA37 Module 37: Computer-Aided Graphic Design (Optional) PHGA56A Module 56A: Work Study Preparation and Follow-up Activities (Optional) 5-10 PHGA57A Module 57A: Work Study (Optional) PHGA99A Module 99A: Extended Study Module (Optional) 5-20 Minimum 100 hours Photography 20 Intermediate PHGA05B Module 5B: Safety (Core) 1-3 PHGA08 Module 8: Camera Lenses and Related Accessories (Core) PHGA10 Module 10: Printing Papers: Black and White and Colour (Core) PHGA13 Module 13: Artificial Lighting - Electronic Flash (Core) 5-10 PHGA14 Module 14: Additional Black and White Printing Techniques (Core) PHGA15 Module 15: Colour Photographic Films (Core) 5-10 PHGA16 Module 16: Intermediate Digital Photography (Optional) 5-10 PHGA18 Module 18: Critiquing Photographs (Core) 5-10 PHGA19 Module 19: Professional Presentation Portfolios (Core) 5-10 PHGA21 Module 21: Colour Film Development Reversal Processing (Core) PHGA24 Module 24: Photojournalism (Optional) 5-10 PHGA32 Module 32: Retouching and Hand Colouring (Optional) PHGA56B Module 56B: Work Study Preparation and Follow-up Activities (Optional) 5-10 PHGA57B Module 57B: Work Study (Optional) PHGA99B Module 99B: Extended Study Module (Optional) 5-20 Minimum 100 hours 9

16 Photography 30 Advanced PHGA05C Module 5C: Safety (Core) 1-3 PHGA20 Module 20: Colour Film Development Negatives (Core) PHGA22 Module 22: Darkroom Colour Printing Techniques (Optional) PHGA23 Module 23: Commercial Photography (Core) 5-10 PHGA25 Module 25: Studio Lighting (Optional) PHGA26 Module 26: Photography and Advertising (Optional) 5-10 PHGA27 Module 27: Portraiture (Core) PHGA28 Module 28: Advanced Digital Photography (Optional) 5-10 PHGA29 Module 29: Advanced Digital Manipulation (Optional) 5-10 PHGA30 Module 30: Mounting, Matting and Framing (Optional) PHGA31 Module 31: History of Photography (Optional) 3-5 PHGA33 Module 33: Taking Care of the Business (Optional) PHGA56C Module 56C: Work Study Preparation and Follow-up Activities (Optional) 5-10 PHGA57C Module 57C: Work Study (Optional) PHGA99C Module 99C: Extended Study Module (Optional) 5-20 Minimum 100 hours 10

17 Graphic Arts Module Overview Module Code Modules Suggested Time (hours) PHGA01 Module 1: Introduction to Photography and Graphic Arts (Core) 3-5 PHGA05A,B,C Module 5A, B, C: Safety (Core) 3-5 PHGA12 Module 12: Career Development Opportunities (Core) 3-5 PHGA34 Module 34: History of Printing (Optional) 3-5 PHGA35 Module 35: Introduction to Graphic Design (Core) 2-10 PHGA36 Module 36: Introduction to Graphic Mechanical Layout (Core) 3-5 PHGA37 Module 37: Computer-Aided Graphic Design (Core) PHGA38 Module 38: Packaging (Core) PHGA39 Module 39: Scanning and Design (Optional) 4-6 PHGA40 Module 40: Introduction to Airbrushing (Core) 5-10 PHGA41 Module 41: Colour Uses by Designers (Core) 3-5 PHGA42 Module 42: Outdoor Advertising (Core) PHGA43 Module 43: Introductory Screen Process Printing (Core) 5-10 PHGA44 Module 44: Intermediate Screen Process Printing (Optional) 5-10 PHGA45 Module 45: Intermediate Airbrush, Beyond the Basics (Optional) PHGA46 Module 46: Portraits that Flatter (Optional) 5-10 PHGA47 Module 47: Be an Art Director (Optional) PHGA48 Module 48: Complex Layout (Optional) PHGA49 Module 49: Business Promotion Package (Core) PHGA50 Module 50: Cover Design (Core) 5-10 PHGA51 Module 51: Scanning and Colour Correction (Optional) 2-5 PHGA52 Module 52: Magazine Advertising (Optional) PHGA53 Module 53: Advanced Airbrush Skills (Optional) PHGA54 Module 54: Cartooning (Optional) 5-10 PHGA55 Module 55: Advanced Screen Process Printing (Optional) 5-10 PHGA56A, D, E Module 56A, D, E: Work Study Preparation and Follow-up 5-10 Activities (Optional) PHGA57A, D, E Module 57A, D, E: Work Study (Optional) PHGA99A, D, E Module 99A, D, E: Extended Study (Optional)

18 Suggested Course Configuration Graphic Arts Route Module Code Modules Suggested Time (hours) Photographics 10 Introductory PHGA01 Module 1: Introduction to Photography and Graphic Arts (Core) 3-5 PHGA02 Module 2: Fundamental Camera Controls (Core) 5-10 PHGA03 Module 3: Types of Cameras (Core) 5-8 PHGA04 Module 4: Black and White Photographic Films (Core) PHGA05A Module 5A: Safety (Core) 1-3 PHGA06 Module 6: Black & White Film Development and Chemistry (Core) PHGA07 Module 7: Controlling Composition and Exposure (Core) PHGA09 Module 9: Introduction to Digital Photography (Optional) 7-10 PHGA11 Module 11: Producing a Black & White Print (Core) PHGA12 Module 12: Career Development Opportunities (Core) 3-5 PHGA17 Module 17: Digital Manipulation (Optional) 5-10 DRAF03 Module 3: Freehand Sketching and Drawing (Optional) 5-15 PHGA35 Module 35: Introduction to Graphic Design (Core) 3-5 PHGA36 Module 36: Introduction to Graphic Mechanical Layout (Optional) 3-5 PHGA37 Module 37: Computer-Aided Graphic Design (Optional) PHGA56A Module 56A: Work Study Preparation and Follow-up Activities (Optional) 5-10 PHGA57A Module 57A: Work Study (Optional) PHGA99A Module 99A: Extended Study Module (Optional) 5-20 Minimum 100 hours Graphic Arts 20 Intermediate PHGA05B Module 5B: Safety (Core) 1-3 PHGA34 Module 34: The History of Printing (Optional) 1-5 PHGA38 Module 38: Packaging (Core) PHGA39 Module 39: Scanning and Design (Core) 4-6 PHGA40 Module 40: Introduction to Airbrushing (Core) 5-10 PHGA41 Module 41: Colour Use by Designers (Core) 3-5 PHGA42 Module 42: Outdoor Advertising (Core) PHGA43 Module 43: Introductory Screen Process Printing (Core) 5-10 PHGA44 Module 44: Intermediate Screen Process Printing (Optional) 5-10 PHGA45 Module 45: Intermediate Airbrush, Beyond the Basics (Optional) PHGA46 Module 46: Portraits that Flatter (Optional) 5-10 PHGA47 Module 47: Be an Art Director (Optional) PHGA56D Module 56D: Work Study Preparation and Follow-up Activities (Optional) 5-10 PHGA57D Module 57D: Work Study (Optional) PHGA99D Module 99D: Extended Study Module (Optional) 5-20 Minimum 100 hours 12

19 Graphic Arts 30 Advanced PHGA05C Module 5C: Safety (Core) 1-3 PHGA48 Module 48: Complex Layout (Optional) PHGA49 Module 49: Business Promotion Package (Core) CPTE12 Module 12: Animation (Optional) PHGA50 Module 50: Cover Design (Core) 5-10 PHGA51 Module 51: Scanning and Colour Correction (Optional) 2-5 PHGA52 Module 52: Magazine Advertising (Core) PHGA53 Module 53: Advanced Airbrush Skills (Optional) PHGA54 Module 54: Cartooning (Optional) 5-10 PHGA55 Module 55: Advanced Screen Process Printing (Optional) 5-10 PHGA56E Module 56E: Work Study Preparation and Follow-up Activities (Optional) 5-10 PHGA57E Module 57E: Work Study (Optional) PHGA99E Module 99E: Extended Study Module (Optional) 5-20 Minimum 100 hours 13

20 Core and Optional Modules Module 1: Introduction to Photography and Graphic Arts (Core) Suggested time: 3-5 hours Prerequisite: None Level: Introductory Foundational Objectives To create an awareness of the processes and uses of photography. To develop an appreciation for photography as an art form. Common Essential Learnings Foundational Objectives To discuss the role photography plays in society. (COM, IL) To state the basic properties of light. (COM) To explain in simple terms how a photographic image is produced. (COM) Learning Objectives 1.1 To recognize situations that illustrate the use of photographic technology. (CCT) 1.2 To explore how photography impacts on everyday life. (IL) Have students list situations they might encounter that make use of photography. Students could collect photographs or make a journal record of situations they encounter during a day and comment on their findings with their classmates. Lead a discussion of the role of photography/graphic arts in society. Topics that may be included: medical and dental applications educational instruction scientific applications police work historic documentation personal use business applications fine arts motion pictures computer applications advertising. 1.3 To recognize a variety of Graphics in our everyday world. (CCT) Have students list the different types of graphics they see in their daily lives. It is important for students to understand the function of graphic design is to communicate ideas. Graphics is derived from the Greek word Grafikos that means a picture or drawing that communicates a message in a telling way. 14

21 Learning Objectives 1.4 To explore how graphics impacts on everyday life. (IL) Have the students discuss the role of graphics in society. They could brainstorm to create a list of places where they might be exposed to graphic displays during a day. Topics might include: Animation Outdoor advertising (billboard) Product packaging Magazine advertisements Logos and emblems Television (commercials) Movies (special effects) Video production Interactive media (CDs and DVDs) Video games Computer technology Website design Stock photography Educational instruction 1.5 To discuss the colours of light in the visible spectrum. (COM) Familiarize students with the full light spectrum pointing out that white light is a mixture of colours and is the light visible to humans. A student s experience with colour combination is usually with paint or pigments where a combination of colours produces a gray or black. An activity where coloured spotlights (red, green and blue) are combined to make white light demonstrates this well. Projection televisions and computer Graphics programs are other tools that could be used to reinforce this concept. Include wavelength and colour relationships in your discussion. Infrared and ultraviolet light can be used to reinforce ideas of different colours being different wavelengths of light. Activities can be created using ultraviolet light sources often called black lights and infrared images. 1.6 To explore the principles of light sensitive materials and their response to exposure to light. Discuss the chemical reactions created by the action of varying light intensity as it strikes photosensitive materials. Have the students produce a photogram (place objects on photosensitive paper and expose it to light) as an assignment that will illustrate this principle. It will be necessary to have a small supply of photo printing paper, paper developer and fixer (hypo) to do this activity. The Internet will also be a good resource to view and research the procedure to produce photograms. 15

22 Learning Objectives 1.7 To explain the principle of a camera used to expose light sensitive materials. (TL). The students can use a simple diagram to show how light is carried through a camera lens and projected inverted and reversed on to the back surface of the camera body. 1.8 To build and explore the use of a pinhole camera. (IL) For a homework or in class assignment, have students make and use a pin hole camera. Some students may feel this is a kids project. In fact some artistic photographers, who exhibit and sell their work regularly, use pin hole cameras. Some photographers feel that the images produced by pin hole cameras are more real than images produced by more advanced equipment. Check the document Photographics 10, Photography 20, 30, and Graphic Arts 20, 30: An Initial List of Implementation Materials for resources about pin hole cameras. 16

23 Module 2: Fundamental Camera Controls (Core) Suggested time: 5-10 hours Prerequisite: Module 1 Level: Introductory Foundational Objectives To practise safety and care in the use of photographic equipment and chemicals. To develop skills related to the use of photographic equipment. To practise good photographic techniques. Common Essential Learnings Foundational Objectives To identify the parts of a camera and the operation of the various settings. (COM,TL) To understand the science and mathematics of the aperture (f-stop) and shutter speed controls. To explore the relationship between aperture (f-stop) and shutter speed to control the amount of light entering the camera. (NUM, TL) To experiment with different camera settings to determine exposure changes and the effect of these changes on photographs. (CCT) Learning Objectives 2.1 To describe the basic operation of a simple camera. (COM) Discuss how the light reflected from a subject through the lens to a focal plane will produce an image on light sensitive materials. The pinhole camera is an example of this type of camera. The basic leaf shutter and simple film advance system should be explained at this point. 2.2 To understand the purpose and operation of a shutter speed control. (COM, NUM) Demonstrate that as the shutter speed is increased or decreased by one step, the amount of time that light can enter the camera is halved or doubled. (e.g. 1/125 th second allows twice the light to reach the film allowed by 1/250 th second). The minimum shutter speed that can be successfully handheld is about 1/30 th of a second. The slightest camera movement will cause the image on the film to be blurred. In situations when a moving subject is panned the background will be blurred suggesting motion. Conversely, intentionally holding the camera still will blur a moving subject if slow shutter speeds are used. To take pictures at slower shutter speeds use a tripod. Have the students watch a moving shutter in an opened camera. This will make the fractional time concept of shutter speed easier to understand. Explain and demonstrate the differences between focal plane and leaf shutters and the advantages of the different types. 2.3 To understand the operation of the aperture control. (COM) The f in f-stop refers to the focal length of a lens. For example a lens with a focal length of 50mm opened to a diameter of 6mm will produce an aperture (or f- stop) of f/ 8 or 1/8 th of the focal length of that lens. Discuss f stop as the measure of aperture opening. Explain that as the lens is adjusted from f /2.8 to f /4 the area of the aperture is decreased by half; f /2.8 will allow twice as much light as f /4 to reach the film due to larger aperture area. 17

24 Learning Objectives 2.4 To understand The Law of Reciprocity. (CCT) The camera shutter speeds and f-stop settings can be paired and are known as equivalent exposure settings. For example, an exposure of 1/125 th of a second with an aperture of f-11 will produce an image with the same exposure on the film as the camera set at 1/60 th of a second with an aperture of f-16. The aperture and shutter speed pairs that produce equivalent film exposure create the same image density on the film. This is called the Law of Reciprocity. It states, the resulting film density for a particular shutter speed and aperture setting will produce the same film density when the aperture is halved and the shutter speed doubled, provided the same subject and lighting are compared. The law fails at very long or short exposures and delivers less density on the film than might be expected. Reciprocity failure can be corrected by increasing the exposure time or aperture. 2.5 To explain the relationship between aperture and shutter speed. (NUM) It is important that students understand that using f 1/250 will allow the same amount of light to pass through the lens as f 1/125. The larger the lens aperture (f/8 has a larger area than f/11) the faster the shutter speed will need to be due to the larger lens opening area for the light to enter the camera. Have the students make a series of exposures changing the aperture and then setting the shutter speed to correspond for a correct exposure. The resulting images will have the same density but different depths of field. 2.6 To observe how an image is focussed. Discuss the various methods that are used to ensure the image is in sharp focus. There are a number of different focusing screens available depending on camera style and format. 2.7 To carry out the correct procedure to load and unload film cassettes in a camera. (TL) Some electronic cameras will automatically advance the film to the first frame whereas other cameras will require manually advancing the film with the shutter advance lever and the shutter release. Remind students to rewind the film fully before they open the camera to remove the film cassette. 18

25 Learning Objectives 2.8 To identify the film speed and set it on the camera. (TL) Film speed is a measure of light sensitivity and is indicated by the International Standards Organization number (ISO), formerly called the American Standards Association (ASA) or Deutsche Industrie Normen (DIN) number. (See Module 4, Learning Objective 3 in this guide.) Electronic cameras will set the film speed according to the coding information that is printed on the film cassette. Cassettes that are used for bulk loading film may not be coded or the code may not match the film in the cassette. See the owner s manual for instructions on setting the film speed for uncoded cassettes. 2.9 To demonstrate how a camera s internal light meter is adjusted for a normal exposure. (CCT) The students may need to review aperture and shutter speed in order to understand how the relationship between the two affects the amount of light that enters the camera. (TL) Have the students practice setting the light meter using a variety of light and dark subjects to observe the differences in exposure times and aperture openings and the relationship between them To explain the relationship between aperture and the depth of field. (COM) The depth of field (range of acceptable sharpness between the nearest and furthest subjects in the exposure) depends on the aperture selected, how distant the main subject is from the camera and the focal length of the lens being used. Have students select a subject with a number of elements positioned at different locations within the subject area. Focus on an object in the center of the subject group, then by changing only the aperture (or f-stop), photograph the scene with a large aperture. Then expose a second frame using the same focus and a small aperture. Have the students compare the resulting photographs. The students can also use the aperture setting on the lens barrel to establish the point to place the infinity distance symbol. This is called the hyper-focal distance and provides the minimum distance where infinity will be within the depth of field (in focus). This is valuable when there is no time to tight focus but the subject is within the range of the current depth of field setting To use and understand the function of secondary camera controls (IL) These controls might include the preview control, motor drive, tripod mount, electronic flash hot shoe, rewind crank and electronic priority features, plus others, depending on the type of camera being used by the students To carry out the steps to set the camera controls and expose film correctly. (TL) Shooting a short roll of bulk loaded film with eight frames is sufficient to see if students understand the use of camera controls (for a 35mm camera, for example). Suggest a variety of subjects, perhaps a landscape, a close-up, a well lit (bright sunlight) and a dimly lit (shadow) situation, a moving subject and a portrait. 19

26 Learning Objectives Some cameras are very automated. Students need to learn that they can direct some automatic systems. Show examples where photographers have overexposed or underexposed a subject, used a fast shutter speed to freeze motion or chosen a specific f stop to control the depth-of-field. Calendar photography is a good source of materials for discussions around camera settings and the reasons for the setting selection To describe the differences between manual and automatic priority cameras. (CCT) The priorities to be examined should include shutter speed and aperture settings. Discuss the effect of choosing one system as it relates to the other in terms of the results obtained when the same scene is exposed once for aperture priority and again with shutter priority. Students can choose aperture priority modes that allow them to take pictures at the f stop they prefer (see above discussion of depth-offield), or they can choose the shutter speed priority mode to shoot at the shutter speed they prefer. 20

27 Module 3: Types of Cameras (Core) Suggested time: 5-8 hours Prerequisite: None Level: Introductory Foundational Objectives To practise safety and care in the use of photographic equipment and chemicals. To develop skills related to the use of photographic equipment. Common Essential Learnings Foundational Objectives To develop an understanding of the various styles of cameras that are available. (CCT) To use a wide range of vocabulary related to the field of photography. (COM) To gain experience and demonstrate skills in the use of photographic equipment. (TL) Learning Objectives 3.1 To research the development of early cameras. (IL) Have the students find information, pictures or examples of old cameras and follow the development of cameras from simple boxes to fully electronic digital cameras. Have students collect photographs from early photographers and evaluate the technical details in the photographs. 3.2 To explain the operation of a simple box camera. (COM) A section view of a simple camera and how it operates will help to illustrate the light path through a simple lens to a focal plane inside the box camera. Old box cameras operate with f /16 or f /22 lens aperture at approximately 1/125 for ISO 125 speed film. The disposable cameras currently available operate on the same principles as the old cameras. Used disposable cameras may be available from camera stores for use in a class demonstration. An excellent project is to have students make their own camera. There are a number of publications as well as websites that have instructions on how to build a simple pin-hole camera that can produce excellent results. This will provide students with a clear understanding of how a camera operates. This exercise will also provide students with an understanding of the print making process. Consult the bibliography for resources related to this project. 3.3 To explain the operating characteristics of a range finder camera. This type of camera may have an adjustable shutter speed, a focusing method, an adjustable aperture and a viewfinder to aim the camera. Have students list the advantages and disadvantages of using this type of camera, including the parallax effect. 21

28 Learning Objectives 3.4 To demonstrate the operating characteristics of a single lens reflex (SLR) camera. (TL) List the advantages and disadvantages of single lens reflex (SLR) cameras. Have students: discuss the reasons for the popularity of 35 mm SLRs. list the accessories available for SLR cameras and compare those options to other camera types. If a medium format SLR is available, compare it to a 35 mm SLR. 3.5 To explain the operating characteristics of an instant print camera. (COM) The Polaroid corporation used to produce cameras and film for instant prints. The Polaroid film pack included the chemistry needed to process the print when it was exposed and removed from the camera. Professional photographers use this type of film and adapter to check studio lighting for still life or advertising situations. Refer to Module 24 in this guide. Discuss the various situations where instant print capabilities could be used. Have the students discuss the advantages and disadvantages of instant print cameras. (CCT) 3.6 To identify the operation and components of a view camera. (TL) Discuss the various formats for view cameras and the advantages and disadvantages for each size. If possible, tour a photo studio that has a view camera to see how it is used. Examine the possibilities that the various front lensboard movement settings can create. 3.7 To explain the operating characteristics of a digital camera. (COM) Modules 8 and 16 cover digital photography in more detail. Mention it here as information regarding camera types. Students need to recognize that in a digital camera light is being recorded electronically rather than chemically. (TL) Discover the advantages and disadvantages of digital cameras. 3.8 To describe the features of a compact camera. (CCT) Disposable cameras and small format (35mm) compacts are snapshot style cameras. These cameras are inexpensive, very popular and may be designed to be totally self-contained with built in features such as an automatic electronic flash that selects its own flash intensity. The electronics may also include automatic metering for light and aperture settings. Discuss advantages and disadvantages of compact cameras. 22

29 Module 4: Black and White Photographic Films (Core) Suggested time: 5-10 hours Prerequisite: Module 2 Level: Introductory Foundational Objectives To understand the properties of light and how those properties affect image production. To develop skills related to the use of photographic equipment. To practise good photographic techniques. Common Essential Learnings Foundational Objectives To enable students to evaluate different films and determine appropriate applications. (CCT) To provide opportunities for students to use vocabulary and forms of expression that demonstrates knowledge of film properties. (COM) Learning Objectives 4.1 To research the evolution of film. (IL) The use of an acetate base is the latest innovation as a medium to carry light sensitive crystals commonly called film. The early types of photographs were made with wet and dry plate glass negatives that had a film put on them. Have the students explore the history of the negative. 4.2 To list the components and understand how they are used in the manufacture of black and white film. (NUM) The students could draw a scaled cross-section of the film to show the placement and relationship of the film s elements. Silver halide crystals (silver bromide) come in a variety of sizes. Discuss the effect of having a mixture of crystal sizes as opposed to crystals of similar size on black and white films. (CCT) 4.3 To explain the reaction of light sensitive crystals when exposed to differing intensities of light. (COM) Discuss the size of the photo sensitive chemical crystal and its relationship to film speed. The more intense the light, the greater the chemical reaction within the crystals. 4.4 To explain film speed as it relates to the International Standards Organization (ISO) numbering system for film. ISO numbers have replaced American Standard Association (ASA) and Deutsche Industrie Normen (DIN) are no longer used. Discuss the ISO numbering system and how it relates to the chemical make-up of the film and resulting images produced by that film. Most electronic cameras will read codes that are carried on the film cassette and set film speed automatically. 23

30 Learning Objectives 4.5 To demonstrate the ability to select the appropriate type of black and white film for a variety of lighting situations. (CCT) Have students make a table of black and white films currently available from various manufacturers and list and compare the characteristics of each film. The popular black and white film and most easily obtained are categorized as slow speed (ISO 50 and lower); medium speed (ISO 100 and ISO 125) and fast speed (ISO 400 and higher). Have student investigate film types that are for special purposes or lighting situations. These might include infrared film, chromogenic film, high contrast or line film, instant print film and others. Students can explore different lighting possibilities; for example, indoor vs. outdoor situations, low light vs. bright light, or situations requiring fast or slow shutter speeds. Another consideration is that the size of the finished print will affect the selection of film. 4.6 To examine the differences between panchromatic and orthochromatic films. Most black and white films available are panchromatic and sensitive to the full visible light spectrum. 4.7 To research characteristics of film available from different manufacturers. Have students research products available from Agfa, Fuji, Ilford, and Kodak corporations. The bibliography lists several websites that will be useful for this research project. 24

31 Module 5A: Safety (Core) Suggested time: 3-5 hours Prerequisite: None Level: Introductory Foundational Objectives To examine the issues surrounding safe, fair, and cooperative workplace practices. To identify and explain health and safety hazards in the workplace so that the potential for personal injury and damage to the equipment and the environment are minimized. Common Essential Learnings Foundational Objective(s) To develop safety practices related to photography and use them in context. (CCT) Note: Other CELs may be emphasized. Learning Objectives 5.1 To recognize and apply safe working practices in the working area. Use lecture and discussion methods. Students would be required to make notes based on these discussions. In the work areas, demonstrate and identify items with which students must be familiar. Be sure to indicate the location of necessary safety equipment. Topics include eye protection, protective clothing, health hazards, safe handling and storage of chemicals, ventilation, reporting accidents, safety rules, cleanup, tool use, equipment maintenance and material storage. (TL, PSVS) Follow workplace procedures and emphasize risk control concerning: cleanliness tool and material handling slips and falls electrical usage harassment violence. General information regarding the Labour Standards Act, Occupational Health and Safety, and Workplace Hazardous Materials Information System (WHMIS) is found in the Practical and Applied Arts Handbook and the Career and Work Exploration,10, 20, A30, B30 Curriculum Guide. Specific information is available from Saskatchewan Labour or is found in the bibliography of recommended resources. 5.2 To apply accident prevention principles and techniques to ensure safe, injury free work. (CCT) 5.3 To recognize the safety hazards associated with photography or graphic arts processes and take the necessary preventive measures to avoid personal injury and injury to others. Safety is a topic to be emphasized throughout the photography and graphic arts courses. Have the students examine WHMIS materials and the Materials Safety Data Sheets (MSDS) sheets that are available for the chemicals that they will be handling during the course. Materials to support this objective are available from Saskatchewan Labour. 25

32 Learning Objectives 5.4 To understand the regulations for occupational health and safety with respect to the photography and graphic arts industries. Refer to Occupational Health and Safety Regulations accessible from Saskatchewan Labour. Consider using Occupational Health and Safety personnel and video resources to present and discuss safety standards and safe work habits. Module 5B: Safety (Core) Suggested time: 1-3 hours Prerequisite: Module 5A Level: Intermediate Review or repeat Module 5A as required before proceeding with the Intermediate level course. Module 5C: Safety (Core) Suggested time: 1-3 hours Prerequisite: Module 5B Level: Advanced Review or repeat Module 5A as required before proceeding with the Advanced level course. 26

33 Module 6: Black and White Film Development and Chemistry (Core) Suggested time: hours Prerequisite: Module 4 Level: Introductory Foundational Objectives To practise safety and care in the use of photographic equipment and chemicals. To develop skills related to the use of photographic equipment. To develop skills related to calculations required to produce photographic products. Common Essential Learnings Foundational Objectives To model safety practices in the photographic industry. (PSVS) To strengthen students understanding of how to compute, measure, estimate and interpret numerical data as it applies to the photographic industry. (NUM, TL) To develop students abilities to meet their own learning needs. (IL) Learning Objectives 6.1 To load exposed film on a developing reel and load into a developing tank. (IL) Have students practise the procedure with previously developed film or outdated film (available from camera stores) in the classroom before attempting to load their film in the darkroom. It is worthwhile to show them the importance of laying out the tank components in order so they are easily found when students are working in the darkroom. Caution students about touching the film anywhere but on the ends or edges to avoid contaminating surfaces. Exposed film must be loaded in total darkness. If there is no darkroom available, any room with no windows and a close fitting door to block outside light from entering will suffice. Once film is properly loaded, film development can be completed in room light. 6.2 To know the photographic chemicals necessary for developing a black and white film. (TL) 6.3 To measure and mix chemicals in the correct proportions for each step of the film development process. (PSVS, NUM) The film developing chemicals required are film developer, indicator stop bath, fixer (Hypo), washing aid, wetting agent and water (water should be drinking quality). There are a variety of developers with individual characteristics that might vary significantly; check the manufacturer s recommendations. The students need to be aware that good darkroom ventilation and careful handling of photographic chemicals is very important. Rubber gloves, waterproof apron and eye protection should be used, particularly when mixing stock solutions. For powdered chemicals a dust mask should be used to prevent inhalation of air borne particles. The student should carefully read and follow all directions that accompany the chemicals. Have the students prepare a list of safety precautions for handling photographic chemicals in a concentrated or a working solution form. 27

34 Learning Objectives Remember: add acid to water. As acid generally has a higher density than water, there will be a larger surface area (as the acid moves through the water) to dissipate the heat generated by the mixing reaction. If reverse mixing occurs the water will float on the acid and the heat generated by the reaction may create a vapour that will carry acid molecules that mix with the air in the room. The resulting mixture can create a health risk. 6.4 To understand the reaction created by each chemical used on the film during the development process. (TL) The film developer, stop bath, fixer (hypo), hypo clearing agent, drying agent and water are all chemicals that react differently with the film at various stages of development. Have students describe what is occurring with each chemical reaction. 6.5 To store chemicals correctly. All chemical containers should be carefully labelled with chemical type, name and preparation date. It will increase the shelf life of chemicals if they are stored with as little air as possible inside the container. If stored incorrectly, the effectiveness of the solutions is severely impaired. It is recommended that chemicals be stored away from light in dark coloured containers. Containers that have air evacuation capabilities are the best choice. 6.6 To select the correct temperature for the development procedure. (NUM) Explain the effect of using chemicals that are not at the recommended temperature. Interesting effects can be achieved when a higher than recommended temperature is used in the development process. 6.7 To prepare the required chemicals from stock solution to the correct dilution to process an exposed roll of film. (NUM) Have all the chemicals thoroughly mixed to working solution concentration in advance and set out in the order that they will be used during the film developing procedure. Have the students use a developing tray with temperate water (20 C) moving through it to store the working solution containers during the development process. 6.8 To select the correct time for each step in the developing process. (NUM) Different chemicals and different manufacturers will have a variety of recommended developing times for their products. Refer to package directions. Sources of information about different film developers and the time requirements for different types and speeds of film are listed in the bibliography. 28

35 Learning Objectives 6.9 To develop a roll of exposed film. (IL) In order for students to achieve consistent results, they must understand the importance of establishing a routine to follow during the developing procedure. Developer should be mixed to a single use or one-shot concentration to avoid contamination problems that could occur with re-using film developers. Some chemicals, notably fixer, are reuseable and should be returned to labelled working solution containers. Caution students not to return WORKING solutions to STOCK solution containers. Remind students of the importance of keeping their work area neat, clean and dry to avoid contaminating their film To store negatives properly to prevent damage. The most popular storage device is the polyethylene negative sleeve. The sleeves are transparent to make working with negatives easier and avoid contamination To understand the reasons for pushing film during development. There will be occasions when light levels may not be adequate for the film that is in the camera. The scene may be so dimly lit that even when the lens is at its largest aperture the shutter speed will be too slow to capture the desired photograph. An example might be taking pictures of a concert performance or a basketball game. In either case, the use of a flash would be ineffective. Pushing the film allows you to shoot at a film speed higher than normal, if the film in the camera was ISO 400 it could be pushed to ISO 800 or even ISO This will allow the use of a faster shutter speed but the film will be underexposed. In order to compensate for the underexposure the film is overdeveloped. The film manufacturer will provide recommendations in the instruction manuals that they provide. There are side effects to push-processing that include a more grainy image as well as a loss of sharpness. 29

36 Module 7: Controlling Composition and Exposure (Core) Suggested time: hours Prerequisites: Modules 2 and 3 Level: Introductory Foundational Objectives To develop an appreciation for photography as an art form. To develop skills related to the use of photographic equipment. To practise good photographic techniques. To understand the properties of light and how those properties affect image production. Common Essential Learnings Foundational Objectives To identify lenses and their operating characteristics. (TL) To develop students abilities to meet their own learning needs. (IL) To explain lens applications for particular situations. (COM) To explore the concept of visualizing and composing an image before it is exposed on film. (CCT) Learning Objectives 7.1 To explore styles of composition used by well known photographers. (CCT) Have the students review published works of photographers to review their different approaches to composition. Elements of composition that are important (but limited) to photography include: Visual Elements: Black and white photographs should exhibit tones that range from black through to white. Colour photographs reflect all colours and transmit light tones through very dark tones. Lines, curved or straight, separate tones. Shape is the area enclosed by a line. Form is a three dimensional shape often shown through the use of shadows. Pattern is a repetition of similar shapes. Texture may be represented as similar shapes, lines and tones. Structural Elements Main subject is the centre of attention in the photograph that is emphasized by the visual elements. Balance provides a sense of weight to a photograph in terms of symmetry, tone, colour contrast. Unity within a photograph is provided when elements demonstrate a relationship to one another. Proportion suggests size comparison relationships. Linear perspective can be achieved by including shadow detail, haze, or object placement in the photograph. Subject placement uses the general Rule of Thirds. The subject is placed at the center of the four intersecting lines created by the dividing the photograph length and width into thirds. 30

37 Learning Objectives Viewpoint of the camera when not at eye level affects the compositional elements. Technical Elements Lens selection will affect the composition as it alters the perspective of the photograph. Wide angle lenses tend to distort distances by making objects smaller and farther away than they are in reality. Tele-photo lenses tend to compress the elements in a photograph. Aperture selection will change the depth of field that may enhance or detract from the central subject in the photograph. Film selection, film speed and colour or black and white film considerations can dramatically alter the resulting photograph. Further information on elements and principles of design is found in the Design Studies 10, 20 Curriculum Guide, Modules 1 and To understand the camera controls that affect exposure. (COM) It is important for students to understand the relationship that exists between shutter speed and aperture. Shutter speed can be used to stop motion in a photograph or allow motion to blur a subject depending on the desired effect. Have students take a six frame series of photographs (maintaining the same focal point) using a moving subject in the scene and slow the shutter speed to blur the motion to hold the subject. To maintain the correct exposure students will need to stop down the aperture as the shutter speed is lowered. Changing the lens aperture (f-stop) will alter the depth of field in the photograph. 7.4 To describe the differences between incident and reflected exposure light readings. (CCT) Handheld light meters read both reflective and incident lighting intensity situations. Handheld meters may include other useful features. Cameras with built in meters read reflected light intensity and may be fully manual, semi-automatic or fully automatic. Automatic cameras may have reflective light meters that will set aperture or shutter speed or both. A camera light meter reads average lighting (18% gray). That means anything that the camera light meter is pointed at registers as being middle gray no matter what the true tone of the object might be. (For example, with black and white film in the camera, meter a snow scene, without compensating for the overall brightness. The resulting print would register the snow as middle gray). To avoid this type of situation the lens must be opened up one or two stops. The reverse situation would occur for a dark scene. 31

38 Learning Objectives 7.5 To understand the use of a gray card to determine exposure settings. (CCT) This can be a valuable tool to measure light levels for subjects that are predominately dark or light. The gray card is useful for reading reflected light. Many technical manuals have a gray card included. In the absence of a gray card, the light reflected from the palm of the hand plus one stop down (smaller lens opening) will provide a close approximation of a gray card reading. 7.6 To understand the reasons to bracket exposures when exposing film. (COM, CCT) This is a common practice used to insure that at least one exposure yields a preferred result. The selected subject may not ever appear the same again so extra care to record the image using bracketing is warranted. Depending on the lighting situation encountered, three possibilities exist: Expose the film as indicated by the meter setting, then expose a second frame overexposed one stop, the third frame one stop underexposed. If the lighting conditions are somewhat dark then make a normal exposure then make two additional exposures to overexposure one then two stops by adjusting either the shutter speed or aperture setting. If conditions are very bright, make a normal exposure then make two additional exposures to underexpose one then two stops by adjusting either the shutter speed or aperture settings. Practice will teach the students which bracketing sequence will provide the best results for the photographic situation they are facing. 7.7 To use a meter to select appropriate camera settings that will produce a negative with detail in the shadows. (NUM, IL) 7.8 To investigate subject placement as it applies to photographic composition Meter the darkest area of the selected scene and then expose with two stops less light. This will allow the detail to be recorded on the film but at the same time not over expose the highlight areas of the scene. Most common light meters will take incident and reflected light readings that will produce the same results. Have students illustrate the rule for subject placement and the way that one s eyes move across a photograph when it is viewed. As a project idea, use a sheet of transparency film to create a mask that could be placed on a photograph to identify whether the subject placement meets the Rule of Thirds. 7.9 To explore the idea of visualizing a finished photograph before the exposure is made. (CCT) The ability of a photographer to visualize or see the completed image in his or her imagination before the exposure is made is a skill that will benefit the photographer s composition skills. This skill is not easily learned but is important to producing photographs that attract attention. 32

39 Learning Objectives 7.10 To maintain a written record of camera settings and subject notes for each exposure. (IL) Have students record in a journal or logbook camera settings for shutter speed and aperture as well as the subject matter. This will cause students to become more selective about what they are doing with the camera. Further, by focusing students attention to specific topics or ideas, they will produce better photographs and fewer snapshot images that do not reflect care and consideration regarding image selection. Planning a photograph will also encourage careful composition and avoid pitfalls like trees growing from the top of the subject s head, off-level horizons, etc. Carefully kept records of camera settings used for different situations will foster a problem-solving approach to recording on film, as close as possible to what the photographer visualized when the film exposure was made. 33

40 Module 8: Camera Lenses and Related Accessories (Core) Suggested time: 5-10 hours Prerequisite: Modules 2, 3, and 6 Level: Intermediate Foundational Objectives To practise safety and care in the use of photographic equipment and chemicals. To develop skills in the use of photographic equipment. Common Essential Learnings Foundational Objectives To explore the use of different lenses and related accessories to enhance creative opportunities. (TL) To explain the operating features of different types of lenses. (COM) Learning Objectives 8.1 To describe the components and the operating features of a normal camera lens. (COM) 8.2 To understand the term speed as it refers to a camera lens. (COM) Most 35mm cameras come equipped with a 50mm lens, referred to as a normal lens. The view provided by this lens is close to what the human eye sees. Operating features include focus control and aperture control. A lens s aperture is the determining factor in lens speed. A lens that is faster than another opens wider to admit more light. For example, a lens with a minimum aperture of f /2.8 will be faster than a lens with a minimum aperture of f /4. The fastest lenses are close to f /1 (f /1.2). Some lenses with larger lens diameters will allow more light to enter the lens and thus compensate for the longer lens barrel. The cost of a lens will increase dramatically as the diameter and focal length of the lens increases. 8.3 To differentiate between fixed focal length and zoom lenses. (CCT) 8.4 To compare the advantages and disadvantages of fixed focal length and zoom lenses. (CCT) 8.5 To compare the characteristics of a fixed focal length lens with those of a zoom lens. (CCT) Have students compare the two styles of lenses regarding the field of view that each type of lens offers. Students should include the following in their list: weight, cost, focal length, field of view and lens speed. Include wide angle, normal, and telephoto styles of lenses for comparison. See the bibliography for information sources. Some zoom lenses have macro capabilities for close-up magnification work and their use should be discussed here. Zoom lenses also offer creative potential not available with a fixed focal length that could be explored through a photographic assignment. 34

41 Learning Objectives 8.6 To understand the different uses of coloured lens filters. This type of filter attaches to the end of the camera lens and is used for creating a variety of special effects with colour film. When coloured filters are used with black and white film different results are achieved. Contrast or tone may be altered in a black and white photograph to make the result more appealing. Have students take photographs of the same object with and without a filter and compare the results. Consider using the following types of filters, polarizing, ultra-violet (UV), contrast and tone changing (red, yellow and orange, blue and green). 8.7 To list the types and uses of colourless or clear filters. (COM) These filters may be used with all types of film. Have students include: ultra-violet, skylight (1A), polarizing, haze, neutral density, diffusion, special effects and other filters in their research. The UV and 1A filters are frequently used to protect lenses from accidental damage by acting as a safety barrier on the front of the lens. 8.8 To explore the variety of special effect lenses that are available and list their characteristics. (TL, COM) Accessory manufacturers make a wide variety of filters for special situations. More information is available about filters in the bibliography. 8.9 To describe the effect of close-focusing attachments. (COM) Extension tubes, bellows, macro lens, microscope attachments and close-up lenses are methods used for photomacrography. Students can calculate the reproduction ratio that determines the magnification for a specific subject they want to use. See the bibliography for further information. Have students produce images from one location using close-up lenses. Close-up lenses are the least expensive alternative when selecting a method to meet this objective. If obtaining close-up lenses is not possible, have students look at images created using this equipment. 35

42 Module 9: Introduction to Digital Photography (Optional) Suggested time: 7-10 hours Prerequisite: Module 2 Level: Introductory Foundational Objectives To use digital technology in the production of photographic work. To develop skills related to the use of photographic equipment. To practise good photographic techniques. Common Essential Learnings Foundational Objective(s) To transfer an image from a digital camera to computer and manipulate the image then print it. (CCT, TL) Learning Objectives 9.1 To develop an understanding of the differences between a digital camera and a film camera. (CCT) Digital cameras are available at a variety of prices, depending on the features that are desired. A mid-range camera will probably be suitable for school applications. Some film cameras with interchangeable film backs can be adapted to digital use by replacing film backs with digital back capability. This is not an economical option and is only available for expensive equipment. 9.2 To understand how a digital camera records visual information. (COM) Students should know images are stored in the camera memory electronically in a numerical form that computer software can manipulate. Have students explain the purpose of pixels, megapixels and charge coupled devices (CCD) in recording the image. 9.3 To use a digital camera to record an image. (TL) 9.4 To compare the advantages and disadvantages of digital cameras and film cameras. (CCT) 9.5 To transfer a digitallyrecorded image from the camera to a computer and display the image. (TL) 9.6 To display and print a digital image using appropriate computer software programs. (TL) Students enjoy taking photographs of friends and classmates. If each member of a group takes a picture of the others, there is some assurance that each student has recorded one image on his or her own. Have students list the advantages of each type of camera and the results that each camera can produce. The type of digital camera used will determine the procedure used to move data to the computer from the camera. At this time, the ability to manipulate the digital image to a simple black and white paper document is sufficient as a means of demonstrating the student s ability to use the computer and software. 36

43 Learning Objectives 9.7 To explain how a scanner is used to record images. (COM) Have the students scan black and white and coloured images as part of their investigation of a scanner s operation. 9.8 To print a scanned image using computer software. (TL) This exercise shows how other images (analog) can be recorded digitally and then manipulated using computer software. 37

44 Module 10: Printing Papers: Black and White and Colour (Core) Suggested time: hours Prerequisite: None Level: Intermediate Foundational Objectives To practise safety and care in the use of photographic equipment and chemicals. To develop skills related to the use of photographic equipment. To practise good photographic techniques. Common Essential Learnings Foundational Objectives To examine the differences between variable contrast and graded black and white printing papers. (COM) To develop students abilities to access and apply knowledge to black and white printing. (CCT) Learning Objectives 10.1 To differentiate resincoated (RC) papers from fiber-based papers To describe the different physical characteristics of printing papers. (COM) 10.3 To describe the printing characteristics of contrast graded printing papers. (COM) For this objective simple identification by feeling the surfaces is sufficient. Colour printing paper in use now is all resin-coated. Characteristics to note: Surface texture: gloss, satin, matte, canvas, pebbled Image tone: warm through cool Base Tint: white through cream Paper Weight: single, medium, double Contrast Grade: graded or variable contrast Paper Size: range from 5x7 to 20x24. Graded papers are available in grades 1-5. Grade 1 produces a low (soft) contrast and grade 5 produces a high (harder) contrast image. Have the students print a single negative using the same enlarger settings with different contrast grade papers and produce a series of small prints to compare the effect of using different paper grades on the finished image. Graded papers can improve negatives that are not properly exposed. For example, dense negatives will produce a better print on lower contrast paper (grade 1) and thin negatives require a high contrast paper (grade 5) to produce a better print To describe the printing characteristics of variable contrast papers. (COM) This is the most popular type of printing paper in use currently and is the best bargain for use in a school setting, particularly if a survey course approach is being used. Variable contrast paper is constructed of two emulsion layers that respond to yellow and magenta special filters designed to match different contrast grades. The higher the intensity of the filter colour used during the printing procedure, the greater will be the increase in contrast in the finished print. 38

45 Learning Objectives 10.5 To compare the advantages of graded contrast print paper with variable contrast paper. Samples of various types of papers may be available from custom printing companies or paper manufacturers. Some photographers who produce images for the art market feel that graded papers produce more consistent results when multiple copies are produced of a single image To be familiar with the characteristics of colour print papers. (COM) Samples of coloured printing paper for student to examine may be available from a manufacturer or custom printing company. This objective may be accomplished by a tour of a photo lab that processes prints. Technology has made it possible for the entire process to occur inside a single processing machine that may not provide much insight into the developing and printing procedure To describe the operating characteristics of machine process printing equipment. Have students make a cut away view of an automatic printing machine to reveal the operations involved in the production of a print. It would also be valuable to list the operating and maintenance procedures needed to insure quality print production To compare the procedures for printing black and white photographs and colour photographs. (CCT) Have students review the technical aspects as well as cost and labour involved comparing hand printing to automatic process machine printing for colour and black and white work. 39

46 Module 11: Producing a Black and White Print (Core) Suggested time: hours Prerequisite: Module 5A Level: Introductory Foundational Objectives To practise safety and care in the use of photographic equipment and chemicals. To develop skills related to the use of photographic equipment. To increase self-confidence through success with photography. Common Essential Learning Foundational Objectives To enable students to evaluate negatives and determine a printing procedure. (CCT) To develop students abilities to access and apply knowledge to printing negatives. (IL) To work safely and cooperatively using photographic chemicals. (TL) Learning Objectives 11.1 To prepare a contact print. (TL) This is a technique to make a print without an enlarger. Early photographers who were using view cameras that had large negatives used this printing method. Have students review the work of early photographers to find examples of work done using contact printing. Images produced from press cameras were often proofed as a contact print until the 1960s when the 35mm format camera with an electronic flash became more popular than the larger heavier cameras. Have the students choose a single negative or strip of negatives and make a contact print. The negatives created in the pin-hole camera activity would illustrate this printing method To evaluate negatives and select those that provide the greatest range of tones. (CCT) Have the students prepare a proof sheet in order to evaluate their negatives. It is possible to produce a proof sheet by contact printing the negatives through the plastic storage sleeves. The sleeves are useful to hold the negatives in place and keep them clean. The students should learn to be selective about the negatives they choose to print. Careful examination of the negative for proper exposure, compositional elements, scratches, dust spots, fingerprints and sharp focus will make the printing process more successful and enjoyable To measure and mix chemicals in the correct proportions. (TL, NUM) There are a variety of developers on the market with individual characteristics that might significantly affect the results. Make certain that students are aware that film and print developers are different. The students need to be cautioned that good ventilation and careful handling of photographic chemicals is very important. Rubber gloves, waterproof aprons and eye protection should be used, particularly when mixing stock solutions. In addition, for powdered chemicals, a mask is recommended to prevent inhalation of air-borne dust particles. They should carefully read and follow all directions that accompany the different types of chemicals. 40

47 Learning Objectives Have the students prepare a list of safety precautions that are necessary when they are handling photographic chemicals in a concentrated or in a working solution form. Remember: add acid to water. As acid generally has a higher density than water there will be a larger surface area (as the acid moves through the water) to dissipate the heat generated by the mixing reaction. If reverse mixing occurs the water will float on the acid and the heat generated by the reaction may create a vapour that will carry acid molecules that mix with the air in the room. The resulting mixture can create a health risk. Required chemicals include a developer, stop bath, fixer (hypo), and a wash bath. Additional chemicals that will improve the end result and quality of the print are a second fixer bath and a hypo-clearing agent. In most processes, the developer may be the only chemical that is different from those used for black and white film development To prepare a working solution from stock chemicals in order to produce prints. (NUM) The students require a developer (for paper not film), stop bath, fixer (hypo), hypo-clearing agent (not required with variable contrast papers) and water at the proper temperature (20 C). Follow the chemical manufacturer s recommendations for the use and storage of chemicals. Some chemicals are reuseable and can be stored for short periods of time in air-tight containers To list the steps followed for the preparation of a test strip. (COM) The test strip is important to establishing the proper exposure time for both the proof sheet and the final print. Have students prepare a procedure list to help them work independently when they are in the darkroom. The goal is to develop a specific sequence of steps for print development. It may be helpful to laminate the procedure sheet to make it waterproof. 41

48 Learning Objectives 11.6 To understand how a black and white printing enlarger is prepared to make a test strip for a print. (COM) Have the students identify the main parts of the enlarger and identify whether it is a condenser-or-diffusion type of enlarger. A labeled diagram or cross-sectional view of an enlarger would help to insure that the description is complete. As the aperture control on the enlarger operates the same as a camera lens, have students focus the negative on the printing surface at the brightest setting (widest aperture) and then stop down to the middle aperture of the enlarger lens (or use f/11, the sharpest aperture). Maintain a record or log sheet for each enlargement that might include the following items: Enlarger height Lens aperture Exposure time Print dimensions Development time Paper selected Contrast filter number or paper grade Additional printing controls, see Module 14 in this guide To develop a test strip and evaluate the results. (TL, IL, CCT) The strip of printing paper used should be large enough to allow for four or five, five-second intervals to determine the final time exposure for the print. Follow a standard procedure for the developing process according to the paper and chemical manufacturer s recommendations. Remind students of the need to keep their hands clean and dry before they begin to do darkroom work. The acids and oils in the skin can adversely affect both film and paper To adjust a printing easel to make prints of selected size. (TL) The format of the photograph will be vertical (portrait style) or horizontal (landscape style). Students will need to move the easel to create the best composition for the desired photograph. To produce an even border on a print, insert a piece of paper the same size as the required print into the upper left corner of the easel (2 blade style) and mark the top and left margins with a pencil. Remove the paper with the penciled corner and rotate the paper so that the pencil mark is in the lower right corner. Position the moveable easel arms so that they align with the pencil mark. The border on the finished print will be the same on each side. A border of 5mm (1/4inch) is sufficient. 42

49 Learning Objectives 11.9 To use an enlarger to produce a black and white print. (TL) Review general safety and work habits needed to obtain good results in the darkroom. Make certain that the students select negatives that are scratch, dust and fingerprint free and have a normal contrast range, in order to produce the best possible print. To avoid backward prints, show students that the negative emulsion side faces the paper emulsion side. It can be difficult to see which side of the printing paper is the emulsion side. Place a black dot on a back corner of the printing paper as a guide for the students (red dots will not show up in red light!). Select an enlarger height that spills light onto the easel arms to insure a full frame image. The further the enlarger head is from the easel the longer the development time will need to be; also the image will become less sharp or grainy (photosensitive particles become recognizable creating weaker definition of lines and edges). In some cases it may be necessary to move the enlarger head further from the easel in order to create a more pleasing composition for the completed photograph. With the enlarger lens aperture wide open, focus the image using a grain magnifier to check for sharpness then set the aperture for f-8 or f-11. Using the time determined by the test strip, students should make a test print on an area of the photograph that has a range of tones from dark to light. This final check will determine if the time, focus, tone range, and elements of composition selected, are correct. It may be necessary to alter the contrast to make the best print possible. If a graded paper is selected, it is recommended that students begin with a #2 or a #3 grade. If variable contrast paper is selected, it will print, without filters, as though it was a #2 paper. See Module 14 for additional printing techniques. 43

50 Module 12: Career Development Opportunities (Core) Suggested time: 3-5 hours Prerequisite: None Level: Introductory Foundational Objective To become aware of the career development opportunities that exist in the fields of photography and graphic arts. Common Essential Learnings Foundational Objectives To identify personal interests and aptitudes in order to initiate career exploration. (IL, PSVS) To evaluate ideas related to career development choices. (CCT) To develop technological skills to access career information. (TL, IL) Learning Objectives 12.1 To develop a list of career development opportunities related to the fields of photography and graphic arts. (COM) Students may list the many different career development opportunities in the professional, semi-professional, and skilled trade areas related to the fields of photography and graphic arts. They should begin by listing the jobs and occupations all of the guest speakers who have made presentations throughout the course, then list the jobs and occupations of workers within the field of photography in the community. Students are encouraged to use a variety of sources of information such as guidance counselors, career software packages, personal interviews, and websites. Examples may include: Commercial photographer Portrait photographer Retail sales Photo-Lab technician Medical photography Art photography Commercial artist Sign maker Website developer Commercial artist Animation Outdoor advertising (billboard) Product packaging Magazine advertisements Logos and emblems Television (promotions and commercials) Movies (special effects) Video production Interactive media (CDs and DVDs) Video games Computer technology Educational instruction 44

51 Learning Objectives 12.2 To identify personal skills and interests that may lead to career exploration. Ask each student to create an inventory of favorite activities and interests. Have students examine their lists to determine how these activities and interests might be job related. This task of creating an interest inventory may be done using one of a variety of computer program software packages. Once students have determined an area of interest related to photography or graphic arts, they should research the related occupations using resources available in the library, in the community or on the Internet. (PSVS) 12.3 To determine skills and interests that would enhance career development choices. CCT) Using the list created, students may select two choices of possible jobs or occupations for further research. Investigate the occupational choices including: the description of work duties; what personal qualities an individual must possess to succeed in the occupation; process to become certified within the occupation; length of education and training; school locations; cost of education and upgrading; trends within the occupation; the best and worst parts of the job; beginning salary, and opportunities for advancement. If a work study will be done, the student may investigate career links within the community for possible work study placement. The student may interview the professional/tradesperson within the community as part of the career research. Refer to Appendix C, Career Research Interview Questions. Students may do class presentations, if time permits. 45

52 Module 13: Artificial Lighting Electronic Flash (Core) Suggested time: 5-10 hours Prerequisite: Module 2 Level: Intermediate Foundational Objectives To develop skills related to the use of photographic equipment. To practise good photographic techniques. Common Essential Learnings Foundational Objectives To explain the operation of a synchronic electronic flash. (COM) To develop students abilities to access and apply knowledge in the use of photography equipment. (CCT) Learning Objectives 13.1 To describe different methods of providing enriched lighting for photographs. (COM) 13.2 To explain how an electronic flash attachment operates (COM, TL) Have the students develop methods of providing additional light to subjects using a variety of reflectors. A simple explanation of the need for synchronization of the shutter and the flash is adequate at this point. Using a shutter speed above the camera s synchronization capability will produce partially exposed negatives To differentiate operating characteristics for manual, automatic and dedicated flash attachments. Students can make simple observations that could include: Manual flash: aperture is dependant on film speed guide numbers. Automatic flash: a light sensor built into the flash unit measures the amount of light reflected to the camera from the subject and adjusts the intensity and duration of the flash according to the aperture that has been selected. Dedicated flash: automatically selects the appropriate shutter speed, aperture and duration of flash exposure. The required exposure information is collected electronically using the flash s sensor or the light metering system in the camera To produce images using an electronic flash unit. (TL) 13.5 To explore the use of electronic flash in high speed photography. The students can create a list of situations that would be enhanced through the use of a flash. Possibilities include: Direct flash on the subject Side lighting from one or more locations Bouncing the flash from the ceiling or other reflective surface Fill flash to enhance shadowed dark areas on the subject or subjects that are back-lit; for example, the sun is behind the subject. Harold Edgerton, inventor of the electronic flash, used it for scientific investigations. Stop action photographs and slow motion film or video of high speed events often use a repeating electronic flash or a strobe light. If a strobe light is available, students could experiment with multiple image photography. 46

53 Module 14: Additional Black and White Printing Techniques (Core) Suggested time: hours Prerequisite: Module 10 Level: Intermediate Foundational Objectives To practise safety and care in the use of photographic equipment and chemicals. To understand the properties of light and how those properties affect image production. To develop skills related to the use of photographic equipment. Common Essential Learnings Foundational Objectives To enable students to understand and use terminology appropriate to the photography industry. (COM) To develop students abilities to meet their own learning needs. (IL) Learning Objectives 14.1 To perform the procedure of dodging on a print. (IL) This process involves lightening an area of a print. An example where dodging would be effective would be a face shaded by a broad brimmed hat. The face would print dark and facial features would be lost, so light from the enlarger would be held back (dodged) in the face area to lighten it and restore facial features. Students could make two prints from the same negative, one that has not been dodged and a second to show the effects of dodging on the finished print. Students can make their own darkroom tools for doing the basic enhancement techniques To demonstrate the procedure of burning-in on a print To crop a negative on the enlarger easel to improve the composition. (IL) This process involves adding light to create a darker area or add light to a lighter area on the print. Students could make two prints from the same negative, one that has not been burned and a second to show the effects of burning-in on the finished print. The basic composition features of vertical or horizontal format need to be considered. Sometimes it is not possible to foresee potentially distracting elements in the viewfinder of the camera when the image is recorded on film. It then becomes necessary to enhance the composition by cropping with the easel or using the enlarger to recompose the image, to alter or remove the disruptive elements. For a different cropping effect try blocking the enlarger light except for one element in a negative allowing that area to be printed. This is sometimes referred to as vignetting To create a photomontage with two or more negatives. Students can sandwich the negatives and produce a print or print the lower part of one negative and the top part from a second negative. For example, an image with a cloud filled sky can be combined with an image that has a cloudless sky. Accessory manufacturers market different types of screens or special filters that will create interesting effects for finished prints. 47

54 Learning Objectives 14.5 To produce a toned print. (TL) Toners are used to change the appearance of a finished print. The toning process can be done with a black and white print after it has been fixed and washed. Some printing papers accept toning better than others. If students are to do a toning assignment, select an appropriate printing paper. The manufacturer of the paper will indicate in its data if the paper is suitable for toning prints. There are a number of toners available to use with black and white photographs. These include: Sepia produces a brown tone. Selenium produces a range of tones from a purplish blue to a reddish brown depending on the strength of the solution. Blue and other colours are available. It is possible to tone parts of a print selectively by carefully masking areas of the print to produce a photograph with a unique appearance. Caution: Rubber gloves, waterproof apron, eye protection and good ventilation are mandatory safety items when handling toner chemicals, as they may be acrid or toxic and corrosive To demonstrate production of a solarized print. This can be a tricky process to control if consistent results are required. Solarization during the developing process produces a partial reversal of tones in the print that produces a surreal image. This process is also referred to as the Sabattier effect and can be used with film or paper. 48

55 Module 15: Colour Photographic Films (Core) Suggested time: 5-10 hours Prerequisite: Module 4 Level: Intermediate Foundational Objectives To understand the properties of light and how those properties affect image production. To develop skills related to the use of photographic equipment. To create an awareness of the processes and uses of photography. To practise safety and care in the use of photographic equipment and chemicals. Common essential Learnings Objectives To promote ability to evaluate information related to photography. (CCT) To use a wide range of language experiences for developing students knowledge of photography. (COM) To develop the students ability to analyze and solve problems. (CCT) Learning Objectives 15.1 To differentiate between colour print film and colour transparency film. (CCT) Have the students compare the developed films produced by colour transparency and colour negative films. The students could map the colour opposites by comparing images. Some film can be used to produce either negatives or positives. It is the development process that determines the end product. The most popular film is colour print film that produces a negative that is then printed on light sensitive paper, similar to black and white photography. Colour transparency film produces a slide intended for projection that is a direct positive image. A print can be made from a transparency by using a special printing paper, different chemicals and processing procedure To list the components used in the manufacture of colour film. (TL) Draw a scaled cross-section of colour film to show the relationship of the film s layers. Colour film is composed of three emulsion layers, sensitive to red, green and blue light that produces an image that appears as the inverse or negative colour for the three emulsion layers. The red emulsion layer produces a cyan dye, the green emulsion layer produces a magenta dye and the blue emulsion layer produces a yellow dye. These complementary colours are not the same as for paints. When the print is made, light from the enlarger passes through the film producing the opposite light colour on the printing paper surface. The colour enlarger is adjusted to increase or decrease the amount of cyan, magenta and yellow light that is directed through the negative to correct the colour. A densitometer is used to measure light intensity and provide adjustment for the colour balance for a print. Skin colour is generally used as a guide to adjust colour balance. The Internet may provide a good opportunity to mix the primary light colours and see the effect of different light mixtures. Refer to the list of websites in the bibliography. 49

56 Learning Objectives 15.3 To understand why colours may appear different for different brand names of colour films. (COM) Every film manufacturer has its own formula for the various layers that create the three colour layers. Some films record red more intensely than other films. Some record greens more intensely. Some photographers use different brands for different types of subjects, preferring one film type for portraits and another type for landscapes. Students could experiment by taking photographs of the same scene using different brands of film and comparing the photographs To explore the reaction of colour film when exposed to varying intensities of light. (COM) 15.5 To explain how the colour temperature of light sources affects colour films. (COM, TL) Colour film also reacts to light in a fashion similar to black and white film. There are a variety of ISO speeds available for colour film and, as is the case with black and white film; the larger the ISO number the more light sensitive the film is. As well the more intense the light, the greater will be the chemical reaction within the crystals of the three colour layers. Colour temperature is measured in degrees Kelvin ( K). The colour of light emitted by a source is compared to a heated body at different temperatures (called a black body). An example to help to understand this concept is to have the students observe an iron bar as it is heated. A dull yellow-red light colour is the first to appear. As the iron is heated, the temperature increases, the light emitted becomes progressively more blue: the higher the temperature, the bluer the light. Therefore the reddish light is said to be cooler than the blue light, and has a lower Kelvin temperature. Different photographic situations will require a film balanced for that colour temperature range. Films rated at 5000 K and lower are referred to as Tungsten film and produce a natural appearance in the subject at lower colour temperatures. Those colour temperatures that are higher require a film balanced to higher colour temperatures, referred to as Daylight film. Colour film is available in Daylight and Tungsten types. Daylight films are colour balanced for the average light conditions at noon (5500 K). Tungsten film is colour balanced for use with photoflood lights (3200 K). An 80A filter with Daylight film allows it to be used with tungsten light sources. Using an 85B filter with Tungsten film provides normal colour balance when exposed in daylight. Have students expose film at different times during the day (e.g., in early evening, mid-day and morning light). The use of slide film is recommended for this work because, if negative film is used, the colour printing lab will colour correct the light effects that are evident at dawn or sunset, and the print may not exhibit the characteristics that the photographer was trying to record. 50

57 Learning Objectives Compare photographs taken in natural light to ones taken in tungsten and florescent lighting. Have the students shoot in these light conditions using Daylight film. Discuss why colours are recorded differently To discuss colour balance. (COM) It is important that the students understand that good colour balance results in lifelike flesh tones and colours for clothing that are reasonably accurate. Colours closely associated on the colour spectrum tend to blend easily whereas those widely separated create contrast in photographs To make informed decisions in regard to film selection. (CCT) There are many films available for different situations. Examples may include films for portraiture, landscape and scenery, natural outdoor lighting and artificial (studio) lighting. The amount of available light will also determine the film selected. The lower the light level, the higher the film ISO number requirement will be for that situation. The higher the ISO number, the less sharp or grainy the image will appear, particularly if the image is enlarged beyond 8x10, for example. 51

58 Module 16: Intermediate Digital Photography (Optional) Suggested time: hours Prerequisites: Module 9 Level: Intermediate Foundational Objectives To create an awareness of the processes and uses of photography. To use digital technology in the production of photographic work. To develop skills related to the use of photographic equipment. Common Essential Learnings Foundational Objectives To develop students abilities to meet their own learning needs. (IL) To use a wide range of vocabulary related to the field of photography. (COM) Learning Objectives 16.1 To list the various types of power supplies used with digital cameras. The variety and cost of battery types available requires that students handle batteries carefully and recharge them properly. Students should learn to use the battery saving features of the camera. It is advisable to avoid excessive use of the liquid crystal display (LCD) in order to conserve battery power To explore the variety of memory storage devices available. Have students use flash cards to transport information to operating devices, whether a camera or a computer. Some digital systems allow direct transfer to printers. Some digital cameras store information on standard floppy disks To explain the function of solid state memory chips. (COM) Compact flash cards have a controller built into the card. This allows the card to act like a hard disk drive to store or retrieve information. The cards will interact with the device into which they are placed providing information about how stored material may be accessed on the card To apply special effects to enhance a digital image. (IL) Students should demonstrate the ability to edit portions of an image. An example would be to exchange heads on members of a group featured in a digital image. The students can also develop skill with layers or bringing elements from a number of images into a single image. An image of a sailboat in the desert would be an example. 52

59 Module 17: Digital Manipulation (Optional) Suggested time: hours Prerequisite: Module 16 Level: Intermediate Foundational Objectives To develop skills related to the use of photographic equipment. To use digital technology in the production of photographic work. Common Essential Learnings Foundational Objectives To develop an understanding of the technological equipment used in digital manipulation and the application to photography. (IL) To demonstrate the use of enhancement techniques to manipulate and enhance digital images. (TL) Learning Objectives 17.1 To be able to start computer and image software Have the students use program tutorials and manuals to become familiar with the operation of the software needed to do digital manipulations To crop a digital image. (TL) Have students enhance a scanned or digital photo image by changing the composition through cropping the original image To demonstrate the use of rotations and flip operations. (TL) 17.4 To demonstrate joining sequential images into a single image. (IL) 17.5 To demonstrate colour correction on a digital image. Have students create mirror images of their pictures to recognize that images may be enhanced using these techniques. Have students select three or more images and blend them into a single image. A panorama of a horizon or a sweep around a room might be possible subjects. Sometimes parts of a digital photograph may have dark or light specks that can not be accounted for based on the original scene. The general term for this is noise, which is an electronic corruption caused by minute current fluctuations in the camera. Software provided with the camera should supply a method to correct this problem. The students can change the skin tones on a portrait subject or change other colours within the image. With a black and white image, portions of an image can be coloured while the remainder of the image remains black and white. It is possible to change an image from colour to black and white, or sepia tone. Other tones may be possible, depending on the software package used. Colour may be added to sepia images as well To show how to change contrast for a digital image. It is possible to employ techniques similar to dodging and burning in with contrast change techniques. 53

60 Module 18: Critiquing Photographs (Core) Suggested time: 3-5 hours Prerequisite: None Level: Introductory Foundational Objectives To critique photographic work as a means of evaluation. To practise good photographic techniques. To increase self-confidence through success with photography. Common Essential Learnings Foundational Objectives To participate in activities that focus on critiquing skills as they relate to photography. (CCT, PSVS) To demonstrate skills and attitudes that contribute to the development of positive human relationships. (IL) To develop students abilities to access and apply knowledge to photographic critiques. (CCT) Learning Objectives 18.1 To understand the importance of a critique. (PSVS) 18.2 To list elements to examine when conducting a critique. (CCT) In order for students to develop and to improve the quality of their work, conducting and valuing a critique is a very important skill and a goal of this course. It is important that the students understand the value of accepting a critique of their work and of providing one for other students. Direct students to look for elements of composition, contrast, over-all presentation, clarity of subject, special effects, and other technical details. Personal subjective feelings, aesthetic appeal and how the photograph affects one as the viewer are important to an effective critique. Include other ideas that will help to improve the work of the photographer. For example, provide technical hints to make effective short cuts To conduct a photograph critique. (CCT) The skilled critic will be positive in the evaluation of the work examined. A written comment attached to the critique makes a personal statement about the photograph to the photographer. A sample form that might be some helpful in conducting a critique is included in Appendix D. It is important to make brief written notes as the critique is conducted. If viewing is in a gallery setting, it may be more appropriately done verbally with a group. To reinforce the importance of doing a frank critique, evaluate the student s critiquing skill and the care he or she takes to do a meaningful critique for other students in the class To develop skill as a photographer through the use of critiques. (IL, PSVS) After doing a critique session have the students discuss the results and the possible changes that they would make to improve their photographs. 54

61 Module 19: Professional Presentation Portfolios (Core) Suggested time: 5-10 hours Prerequisite: None Level: Intermediate Foundational Objectives To explore a variety of presentation formats that photographers use to display work. To consider career development opportunities related to photography. Common Essential Learnings Foundational Objectives To participate in effective presentations. (IL) To develop and maintain a portfolio of photographs for a variety of presentation formats. (COM) Learning Objectives 19.1 To know the uses and purposes of a presentation portfolio. (COM) Students need to recognize the importance of building a presentation portfolio of their accomplishments, to illustrate the work they do in the class. Many post-secondary institutions require a presentation portfolio as part of the program entrance requirements. There is a section in at the beginning of this guide that discusses the various types of portfolios; it may be helpful when this module is taught. For further information on personal career portfolios see the Career Work Exploration Curriculum Guide, 10, 20, A30, B30, Modules 2A, 2B. The Arts Education Curriculum Guide 10, 20, 30 also contains information relevant to presentation portfolio development To select the materials to compile in a presentation portfolio. (IL) Have students review different types of portfolios to determine what the contents of their presentation portfolios should include. The presentation portfolio should reflect the most current and best work the student has produced for the course. The presentation portfolio will need to be updated on a regular basis To maintain a presentation portfolio and journal of photographs. (COM, TL, CCT) Descriptions of the technical aspects of each piece could be recorded in a journal describing the camera, film type, shutter speed, aperture, geographic location, special treatment, etc. Reflective writing about the subject, the mood that was attempted, successes and failures of each piece of work should also be recorded and included in the presentation portfolio. The student s presentation portfolio should include examples that demonstrate the various assignments completed in the course. Students also need to learn to tailor a portfolio presentation to meet the need of a specific client. Have the students do presentations of their portfolio for other members of the class. This will help to develop self-confidence and improve their ability to speak confidently in an interview situation To share the presentation portfolio with classmates. Students could critique each other s presentation portfolios and brainstorm ways to make them stronger. 55

62 Module 20: Colour Film Development Negatives (Core) Suggested time: hours Prerequisite: Module 5C, 6, 15 Level: Advanced Foundational Objectives To create an awareness of the processes and uses of photography. To practise safety and care in the use of photographic equipment and chemicals. To develop skills related to the use of photographic equipment. Common Essential Learnings Foundational Objectives To promote ability to evaluate and use information related to photography. (CCT) To use a wide range of vocabulary related to photography. (COM) To develop the students ability to analyze and solve problems. (CCT) Learning Objectives 20.1 To list the procedures for development of colour negative roll film. (COM) Remind students of the safety precautions to observe when working with the chemicals required to develop colour film. It is advised that rubber gloves, safety glasses and a waterproof apron be worn when handling chemicals. Be sure that adequate ventilation is provided. Refer to Module 5 in this curriculum for further details regarding developing film. The development of colour roll film requires more steps and attention to maintaining temperature and quality controls than the development of black and white film. It is also important to rinse the film with clear water between development steps to avoid contamination of processing chemicals. The C-41 process (or its equivalent from different manufacturers) is the most popular method of developing colour film negatives. The expense of the chemicals for this type of processing will require very careful work particularly in the developing stage of the film processing procedure. The shelf life of mixed processing materials is limited so it may be wise to process as many rolls as possible in one session in order to make the best use of the chemicals. Students should follow the manufacturer s steps and recommendations carefully. It is important to handle the film with clean dry hands or to wear cotton gloves to avoid contamination from the skin. Safety precautions for the selected chemicals should be read thoroughly. Careful storage of negatives will avoid damage and contamination. 56

63 Learning Objectives 20.2 To evaluate negatives. (CCT, TL) Have the students review their negatives on a light table or light box to compare the results they obtained with a professionally developed set of negatives. They should look at the film base to see if there was any fogging during the development process. The colours that the negative exhibits (magenta, cyan and yellow or combinations of the three) are the foundation of the finished print. Have the students mix light together using coloured gels (stage lighting uses this type of equipment) to identify the colouration on the negatives and, based on their observations, decide what the final print colours might be. The purpose is to develop a skill to evaluate a negative before a print is made. Producing colour prints is expensive and savings can be realized, if poor negatives are discarded. 57

64 Module 21: Colour Film Development Reversal Processing (Core) Suggested time: hours Prerequisites: Module 5C, 6 and 15 Level: Intermediate Foundational Objectives To create an awareness of the processes and uses of photography. To practise safety and care in the use of photographic equipment and chemicals. To develop skills related to the use of photographic equipment. Common Essential Learnings Foundational Objectives To evaluate and use information related to photography. (CCT) To use a wide range of vocabulary related to photography. (COM) To develop the students abilities to analyze and solve problems. (CCT) Learning Objectives 21.1 To know the characteristics of colour reversal film. (COM) Names for this type of film include: slide, positive, colour transparency and colour reversal. Generally, 35mm positives are called slides and positives from larger films are referred to as transparencies or chromes. Have the students discuss situations where slide production would be preferred to using a negative/print type of film. Because the film produces a positive as opposed to a negative it is important to expose for the lighter toned areas correctly (the opposite case is true for negative producing film when exposure is metered for shadow detail). This type of film produces images with better colour saturation than negative (print) films. It is important for students to remember that colour film has less exposure latitude than black and white film, therefore if bracketing is being used to insure a proper exposure, they need only bracket in half stops around the metered exposure for a particular subject. Have the students compare the slide results when exposure bracketing is used. The richness of the colours is the basis for their comparisons. Colour reversal film is often favored by printing firms and periodical publishers, as it facilitates the colour separation process used to produce magazine advertisements or art prints. Coloured images in printed material require a number of separate printings to produce a finished print. Slides make the separation of the colours easier than if negative/print film were used. The printing may be done with overlay printings of transparent inks in magenta, yellow, cyan, and black layers. 58

65 Learning Objectives 21.2 To process a colour reversal film. (TL) The E-6 process is the most popular and easiest to use of the colour development reversal processes and is suitable for use in schools. Some manufacturer s films use a complicated developing process and are done only by manufacturer and other specialty labs. Developing colour reversal film is a demanding task if good results are expected. Attention to the film manufacturer s chemical mixing instructions and temperature control are required. Have the students load film as they have for other types of films observing the same precautions. Some of the chemicals used in the processing of colour slides have a short shelf life. The chemicals should not be mixed until the film is ready for processing. Most small batch processing kits will process about six rolls of film. Have the students prepare their own processing procedure chart to follow the directions for mixing and using the development chemicals. Follow the appropriate safety procedures To mount the processed images to slide mounts. Mounts are available in two types. One style is cardstock and may require the application of heat with an iron to seal the slide and mount. Another type of mount that is quick and easy to use is plastic. It snaps together. Plastic mounts with glass shields to protect the slide are available, but expensive. This type of mount is used when slides are prepared for large presentations or when slides might be exposed to different types of contaminants To prepare and present the slide series. (CCT, TL) Have the students demonstrate the use of a slide projector, slide carrier, and screen. Through careful selection of the slides for the presentation, this assignment could become a part of their presentation portfolio. If desired, the students might create a multimedia presentation using accompanying music and/or commentary. Students might prepare a presentation to be delivered in a digital format using presentation software (e.g., Power Point). 59

66 Module 22: Darkroom Colour Printing Techniques (Optional) Suggested time: hours Prerequisite: Module 11 Level: Advanced Foundational Objectives To practise safety and care in the use of photographic equipment and chemicals. To develop skills related to the use of photographic equipment. Common Essential Learnings Objectives To participate in activities that focus on darkroom skills as they relate to the photography industry. (COM, CCT) To develop skills related to the use of photographic equipment. (TL) Learning Objectives 22.1 To identify the differences in technique between printing black and white photographs and colour photographs To evaluate colour negatives to determine the negatives that will produce quality prints. (CCT) 22.3 To list the chemicals and describe the reaction of the chemicals with the paper in developing the colour print To describe the operation of a print processing machine. (COM) Review techniques for black and white printing. Provide an overview of colour printing processes and techniques. Have students evaluate the colours on their negatives and have them determine the colours that will be printed. Review negative care with regard to storage, handling, and selection. The students must be aware of and follow the precautions/procedures that are required for development of colour print. The students should understand the role of each chemical in each step of the process. If possible, arrange to tour a facility that uses a 1 hour processing system. The equipment used is very automated and does not allow for custom work to be done to finished prints, but it is valuable for students to see how the equipment works. As a comparison, visit a custom colour processing company that does custom specialty printing and processing, one negative at a time (as opposed to processing one roll at a time) To produce a test print. (TL) Have students follow the manufacturer s recommendations for enlarger colour settings when attempting to determine exposure times To evaluate a test print and make colour corrections as necessary To print a colour negative and produce a finished print. (TL) Have students alter one of magenta or yellow of the three colour settings. Cyan is usually left at zero. Then evaluate the results. This process requires the greatest amount of the student s time, but is a most valuable and important skill. Have students produce a print of the same negative in two different sizes to demonstrate the ability to make enlarger and time adjustments to yield similar colour saturation results. 60

67 Module 23: Commercial Photography (Core) Suggested time: 5-10 hours Prerequisite: None Level: Advanced Foundational Objectives To develop an understanding of the skills needed to operate a photography business. To develop an appreciation for photography as an art form. Common Essential Learnings Foundational Objectives To develop students abilities to analyze and solve problems. (CCT) To use a wide range of vocabulary related to the photography industry. (COM) To develop skills related to meeting the needs of potential clients. (IL) Learning Objectives 23.1 To list the types of enterprises operated by commercial photographers. (COM) Have students gather information about different types of commercial photography. Examples might include photographers who produce stock photographs, promotion (advertising), portrait, wedding or a specialized market (e.g., underwater) photography To create a proposal for a commercial photography contract. (CCT) This is a realistic situation when the photographer creates or develops work for him or herself. The project ideas could revolve around the promotion of a business, community organization or creation of a brochure to promote tourism, for example. Create a scenario with two students and conduct a photographer - client interview to determine the needs and desires of the client. For the photographer important questions to ask regarding the contract proposal are Who, What, When, Where and Why. It will be important to the success of the contract for the photographer to gain the confidence of the client in his/her ability to accomplish the tasks in the contract. Modules from the following curricula may be used in a variety of scenarios to produce a finished brochure for a client. Design Studies 10, 20 Curriculum Guide Communication Production Technology 10, 20, 30 Curriculum Guide Information Processing 10, 20, 30 Curriculum Guide Modules may not be covered twice by a student but may serve as appropriate reference material To produce a product and presentation as the result of a contract. (IL) The product will reflect the contract that was decided upon in Module 22 Learning Objective This might be an actual work situation for a client and may be accomplished in a work study or it may be in a simulation created by the teacher and the student. 61

68 Module 24: Photojournalism (Optional) Suggested time: 5-10 hours Prerequisites: Modules 2, 7, and 12 Level: Intermediate Foundational Objectives To create an awareness of the processes and uses of photography. To consider career development opportunities related to photography. Common Essential Learnings Foundational Objective(s) To gain experience and demonstrate skills through active participation in photographic experiences. (IL) Learning Objectives 24.1 To investigate the work done by photojournalists. (CCT) There are connections to English Language Arts that could be strengthened by developing a project for both subjects. Recreation and travel magazines are excellent sources of articles involving photojournalism. The Internet is also a good resource To prepare a proposal for a project involving the production of photographs and text. (IL) For references on writing skills see, Journalism Studies 20 Curriculum Guide, Media Studies 20 Curriculum Guide and Communication Studies 20 Curriculum Guide. Have students work with only one or two rolls of film. This assignment can be completed and presented in a variety of ways with print or slide film or in a digital format using presentation software. The assignment may be: an instructional how to manual (For example, how to construct and use a pin-hole camera) An exploration of school events (sports, graduation or awards ceremonies) a day in the life of, (a family member, local artist or community personality) To prepare a shooting plan for a project. Students should maintain a journal of the work they do as they move through the assignment. This will help with time management skill building. Each image should be planned in order to illustrate a point in the accompanying written portion of their assignment. Have students prepare a story board or a journal to refine the project To compile and edit a multimedia presentation. The finished assignment might only include one or two printed images, but as a slide presentation, many more images might be included. Refer to Module 7 in the Communication Production Technology 10, 20, 30 Curriculum Guide To make a presentation of a completed photojournalism assignment. (IL) The student might do an assignment on a school activity or sport event digitally, packaged and presented as a part of a school website. When a more traditional presentation is done, a class presentation may be appropriate. 62

69 Module 25: Studio Lighting (Optional) Suggested time: hours Prerequisite: Module 13 Level: Advanced Foundational Objectives To understand the properties of light and how those properties affect image production. To develop skills related to the use of photographic equipment. To practise good photographic techniques. Common Essential Learnings Foundational Objectives To enable students to use language (listening, speaking, reading, writing, viewing, and representing) for differing audiences and purposes that are relevant to photography studio work. (COM) To promote both intuitive and imaginative thought and the ability to evaluate ideas, processes, experiences, and objects in photography. (CCT) To demonstrate skill using artificial lighting for portraiture. (IL) Learning Objectives 25.1 To discuss the different types of artificial light sources. (COM) Have students review the continuous (photoflood) and electronic strobe styles of lighting To illustrate the effect of using one light to illuminate a subject. Have students use a statue or bust and light it with a single source for three separate exposures from the front, side, and back and compare the effect on the subject To demonstrate the use and placement of artificial light sources. The students should use three lights to adequately light portraits. There should be a main light, fill light, and a back light (also called a rim light). Have students describe the function each light fulfills. Have students produce two prints of the same subject, one using the Paramount style and the other the Rembrandt lighting style. Refer to Module 15 for additional information To demonstrate different styles of lighting individual portraits. The location of shadows on the face of the subject is important for the effect desired. The amount of the subject that is to be in the photograph also plays a role in how the lighting is prepared. If possible, tour a commercial studio to see how the photographer uses lights to produce different types of photographs To demonstrate how to prepare lighting for group portraits. (IL) This will involve situations for team pictures or wedding parties and other groups. The emphasis in this type of photograph should be on obtaining uniform lighting over the entire group. The placement of the lights will be different compared to single portraiture. Group portrait photographs usually include full body where single subject portraits are usually head and shoulders photographs. 63

70 Learning Objectives 25.6 To demonstrate lighting a portrait using four light sources. (IL) Have the students use a hair highlight in addition to the three lights previously mentioned to produce a portrait, and then compare to the photographs that used only three lights To understand the copyright issues of obtaining the right to use a person s image. When identifiable people, animals or belongings are photographic subjects, those subjects or owners of the property have certain rights as to the use of the image. In general, if the image is for advertising purposes the owner must sign a release giving the photographer the right to use the image for that purpose. News photographs, art photographs and art photographs generally do not require the use of a model release. Have students make a sample model release form or collect copies of release forms from a variety of sources and produce one of their own. Different situations may require different types of releases, using children as models for example will require parental/guardian permission, if they are below the age of majority To select and arrange a still life subject, light, and photograph it. (CCT) Students are free to select from a variety of subjects. Popular subjects include flowers in a vase, fruit in a bowl, bunches of vegetables, jewelry or a collection of small items. Light should be even with no heavy shadows evident. The use of reflectors will help to remove shadows. Select a background that does not interfere with the subject of the photograph. If possible, an 18 percent gray card type of background will provide an opportunity to ensure a proper exposure To demonstrate the use of reflectors to fill shadow details of a subject prepared for a photograph. In some situations it may be important to bounce a flash from a ceiling or reflect light from coloured surfaces into darker areas, to avoid creating sharp shadows or to produce a special effect. Have students use a reflector for one of their still life images. Reflectors can be made from mat board (use a variety of colours or tones can be used, depending on the effect desired), cloth, or foil reflectors. Placing a translucent fabric screen between the light source and the subject can soften harsh light. 64

71 Module 26: Photography and Advertising (Optional) Suggested time: 5-10 hours Prerequisite: Module 23 Level: Advanced Foundational Objectives To develop skills related to the use of photographic equipment. To practise good photographic techniques. To increase self-confidence through success with photography. Common Essential Learnings Foundational Objective(s) To provide opportunities for students' active involvement in the use of photographic equipment. (TL) Learning Objectives 26.1 To research advertising. (CCT) Have students look through magazines to find advertisements featuring photographs and critique the techniques; then discuss the effectiveness of the ad in creating a mood or convincing the viewer to purchase the product To demonstrate good photographic technique when photographing a product for advertising. The location of the subject in a situation when a single subject is chosen changes because the client, for whom the photograph is being prepared, will want very specific details. These might include copy space, specific colouration and subject placement in the layout space To prepare a copy ready photograph of a single small object. Have students choose an advertisement featuring jewelry, shoes, CDs, pens, pencils, craft items, or pottery and create an advertisement for a similar product To prepare a photograph of a large item in a natural setting suitable for copy. A car, a grain elevator, or a piece of farm machinery are possible choices. The building of a manufacturing or retail business would also meet the requirements here. 65

72 Module 27: Portraiture (Core) Suggested time: hours Prerequisite: Module 25 Level: Advanced Foundational Objectives To develop skills related to the use of photographic equipment. To practise good photographic techniques. To increase self-confidence through success with photography. Common Essential Learnings Foundational Objectives To provide opportunities for students' active involvement in the use of technological equipment related to photography. (TL) To demonstrate skills and attitudes that contribute to the development of positive human relationships. (IL, PSVS) Learning Objectives 27.1 To be aware of the types of portrait work done by photographers. Have students discuss this in two groups. One group focuses on family portraits, graduations, anniversaries, weddings, baby showers and family groups. The second group reviews business portraits, annual reports, appointments and promotions, and presentation types of portraits. Character photographs may emphasize different subject characteristics without intending to be unflattering. It is important that the photographer carefully consider the type of portrait he or she wishes to produce To differentiate between a formal and informal portrait setting To illustrate different poses that are suitable for individual portraits. (IL) The setting of a portrait has more to do with its formality than the appearance of the subject. The poses used for individual portraits are generally not full body images unless the apparel plays a role in the subject s life. Refer to Module 45 for additional information To illustrate different posing situations that are suitable for groups. The variation of subject heights will require careful planning when groups are posed. The photographer will need to establish rapport with the group, if the photograph is to be a success. The photographer should make two or three images each time to insure attention and open eyes. 66

73 Learning Objectives 27.5 To demonstrate skill in working with clients or models. (PSVS) It is important that the subject of the photograph has confidence in the photographer. This will create an atmosphere where the subject will relax and the best images will result. Have students spend time talking with their subject about what will produce the outcome desired. They should speak confidently and knowledgeably about what is being done for the photograph To demonstrate skill posing subjects for portraits. (PSVS) 27.7 To demonstrate the use of a handheld light meter. (TL) Have students review objective 26.2 and make decisions about posing subjects in a natural, relaxed manner. The ability to put a client at ease will create a natural appearance in mannerism and expression two important goals needed to achieve an effective portrait. Have students measure the light falling on the subject with a handheld meter, demonstrating both reflected and incident light reading techniques To demonstrate different types of lighting subjects for portraits. Refer to Module 25 in this guide for more information. Taking photographs of subjects who wear eyeglasses will require extra care to avoid distracting reflections from the eyeglasses To diagnose lighting problems in portraiture. (TL) Refer to Appendix E for a list of common problems associated with portraiture. Have the students brainstorm to produce a list of problems and their solutions. 67

74 Module 28: Advanced Digital Photography (Optional) Suggested time: 3-5 hours Prerequisite: Module 16 Level: Advanced Foundational Objectives To use digital technology in the production of photographic work. To develop skills related to the use of photographic equipment. Common Essential Learnings Foundational Objective(s) To develop a contemporary view of technology as it applies to the use of digital photographic equipment. (TL) Learning Objectives 28.1 To investigate the types and styles of commercial cameras available in a digital format. (IL) These are expensive cameras and are probably not within the price range for school use. The students could invite camera store personnel to bring this type of equipment to the school and discuss the equipment and its application. It may be possible to rent a digital camera that has a variety of accessories the students could use for practice To examine the accessories available for the larger digital cameras, 35mm and 2¼ format. (TL) The accessories to look at include the variety of lenses, filters and software programs. Have the students compare the quality of the digital photographs made from larger digital cameras to the current popular styles. 68

75 Module 29: Advanced Digital Manipulation (Optional) Suggested time: 5-10 hours Prerequisite: Module 17 Level: Advanced Foundational Objectives To use digital technology in the production of photographic work. To develop skills related to the use of photographic equipment. Common Essential Learnings Foundational Objective(s) To develop a contemporary view of technology as it applies to the use of digital photographic equipment. (TL) Learning Objectives 29.1 To demonstrate the use of graphics filters employed in image manipulation. This type of filter is available as a part of a graphics software package. Common digital filters for colour images include: artistic, texture, style, and pixelate. The effect rendered by each type of filter mimics different painting styles. Have the students explore the possibilities in the software program and experiment with the different effects. Apply the effect to one of their images and submit the original and the filtered image To demonstrate the use of digital images as a compositional element. (TL) The use of textured backgrounds is often used in creating digital montages. Have students collect a variety of images they might use as a background in a montage To use digital images with other graphic media. Have students create a visual image that requires the use of digital images as well as other graphics. For example, select a digital image of a lake and superimpose a sailboat image scanned from another source, and put the images together. Have the students use the same image but create different moods; happy, sad, scary, etc To retouch a digital image. (TL) Have the students select an image that can be altered through the tool software in the program being used. Two images would be submitted for this assignment, a before and an after image. The selected image could be a still life or a portrait. 69

76 Module 30: Mounting, Matting and Framing (Optional) Suggested time: hours Prerequisite: Module 11 Level: Advanced Foundational Objectives To explore a variety of presentation formats that photographers use to display work. To increase self-confidence through success with photography. To develop skills related to calculations required to produce photographic products. Common Essential Learnings Foundational Objectives To model safety practices in the photography industry. (PSVS, IL) To strengthen students understanding of how to compute, measure, estimate and interpret numerical data as it applies to photography framing. (NUM) Learning Objectives 30.1 To work safely and carefully with mounting materials. (PSVS) The blades used to cut the mat board are razor sharp. Make certain to handle mat cutters carefully so as not to damage the exposed blade. Caution students about safety as a dry-mount press used to mount the print is very hot. Follow the manufacturer s safety precautions To demonstrate a variety of methods used to mount prints to a mat board. (TL) Students may work with dry-mount tissue if access to a dry-mount or heat-pressing method is available. As well, other methods to try include: double-sided tape linen tape framer s tape liquid adhesives, including contact adhesive 30.3 To demonstrate the preparation and cutting of an over-mat. (NUM) For black and white work, the most appropriate window mat would be an off-white, also called Photo-white. Measurements must be done carefully. The outside border is cut square at 90 degrees. The photograph window will have a bevel edge on the inside that opens onto the photograph. The lower edge of the mat window will be fractionally wider than the three other sides. A wider bottom edge gives the impression of proper orientation. Handle over-mats with clean cotton gloves. Oils from the skin can mark the mat surface permanently. Store completed over-mats in clean plastic bags while preparing the framing materials To demonstrate how a display frame is constructed to hang a print. Metal or wood frames can be used. Metal (generally aluminum) frames are easy to cut and assemble and are relatively inexpensive. Older style wooden frames can be recycled with mats and prints prepared to fit into the frame. 70

77 Learning Objectives 30.5 To assemble a print for display. (IL, PSVS) As prints are mounted with glass in the front to protect the print, students will need to learn to cut glass safely. They must wear proper eye protection when cutting glass. They should inspect the glass surface to make certain it is not scratched. Students should be supervised by someone with glass cutting experience when cutting glass. Discuss the different types of glass available for picture framing: non-glare, ultraviolet resistant, and window glass. Have the students compare the benefits of using each type of glass To describe how to arrange framed prints for display. (COM) Student work should be displayed from the earliest opportunity in the class. This will develop a sense of accomplishment and pride in their work, as well as develop their presentation portfolio. (PSVS) Prints are generally displayed with the upper frame edges in a straight line but other placements are possible depending on the photographic content that is being displayed and the space allotted for the display. 71

78 Module 31: History of Photography (Optional) Suggested time: 3-5 hours Prerequisite: None Level: Advanced Foundational Objectives To create an awareness of the processes and uses of photography. To develop an appreciation for photography as an art form. Common Essential Learnings Foundational Objectives To develop students abilities to meet their own learning needs. (IL) To gain a historic perspective on photography. (CCT) Learning Objectives 31.1 To investigate the history of the development of photography. (CCT) Have students research the methods used to produce early photographs. Include the following processes and find examples of each: camera obscura daguerrotype wet plate dry plate tintype calotype others. It may also be possible to try to duplicate the older techniques to develop an appreciation for the work required by early photographers. The pin hole camera might be an option as a project here To create a presentation about a photographic pioneer, using a variety of visual media. (IL) This could be about a past or current photographer. Have the students select one person to research. The selected subject could be a photojournalist or someone from an artistic background. It will be important to collect a number of the subject s photographs to show how their work changed during their lifetime. 72

79 Module 32: Retouching and Hand Colouring (Optional) Suggested time: 5-10 hours Prerequisite: Module 11 Level: Intermediate Foundational Objectives To develop an understanding of skills required to operate a photography business. To develop skills related to the use of photographic equipment. Common Essential Learnings Foundational Objectives To use a wide range of practical experiences for developing students knowledge of photographic techniques. (TL) Learning Objectives 32.1 To develop skill in retouching photographs. (TL) This skill takes practice to develop. Students may be discouraged initially, but will improve with practice. Encourage students to be more careful in the darkroom with regard to using dust-free, lintfree and well-prepared negatives before making the print. This will decrease the amount of retouching required. Make certain the work space and the equipment being used are clean. To retouch black and white prints use soft pencils designed for this purpose, or inks with very fine bristle brushes. As a means to practise and compare the skill, use duplicate prints with the same tones, producing one print that is retouched and one that is not To demonstrate hand colouring of black and white photographs. (TL) Prints to be hand coloured may be black and white or selenium toned. They can be coloured with acrylic paints, oil based paints, food dyes, markers or coloured pencils. The colouring media should be translucent to allow the image to show through the colour. It is best to use a print where the details to be coloured are not too small so they can be hand-coloured accurately To research other methods of creating colour in conjunction with black and white prints. One might look at David Lewis s work with the bromoil process. 73

80 Module 33: Taking Care of Business (Optional) Suggested time: hours Prerequisite: None Level: Advanced Foundational Objectives To maintain a working portfolio and assemble a presentation portfolio. To develop an understanding of skills required to operate a photography business. To develop skills related to calculations required to produce photographic products. Common Essential Learnings Foundational Objectives To enable students to use language (listening, speaking, reading, writing, viewing, and representing) for differing audiences and purposes that are relevant to a photography business. (COM, IL) To strengthen students understanding of how to compute, measure, estimate, and interpret numerical data as it applies to a photography business. (NUM) Learning Objectives 33.1 To know the major requirements of operating a small business To explore different types of photography business opportunities that exist. (IL) 33.3 To develop a filing system suitable for maintaining slides and negatives. (IL) Have students explore the necessities to start their own photography business. For additional information that would be useful when creating an entrepreneurial venture see the Entrepreneurship 30 Curriculum Guide. Have students visit: retail photography and camera stores one hour photo shops commercial studios photo processing and finishing labs photographic artists photography galleries Many photographers make a significant portion of their income by selling reprints and stock work that they have on file. It is important to have a filing system that will track the location of these materials To know the necessary time management skills for operating a small business. Have students prepare a list of steps to follow to help them manage time effectively. These steps may include: determine what work is to be done with clear instructions from the client (contract) follow a timeline established by a supervisor review procedures required to complete the work prepare supply lists for equipment and materials (office, film and darkroom supplies) needed estimate accurately the time required complete the task within required time constraints. 74

81 Learning Objectives 33.5 To maintain accurate, legible, and complete business records. Have the students record all the business activities they may need to carry out in a month. Include studio rental, utility costs, material and equipment costs as well as a reasonable salary for their work. Business records need to be maintained for accounting, banking and taxation purposes. Refer to the Accounting 10, 20, 30 Curriculum Guide for details. Students should recognize that the purpose of doing business is to generate income. As a general rule, have the students calculate their business earnings as: 1/3 materials and overhead 1/3 labour costs 1/3 profit to the business 33.6 To demonstrate a professional attitude and behavior toward the work the business conducts. The student must adopt an attitude of self-confidence and professionalism to gain the confidence of the intended client. Have the students role-play looking for a contract emphasizing correct professional behaviour when dealing with clients To develop a fee structure for photographer services To develop a plan for marketing a type of photography. Students can research photography studios on the Internet to determine what fees are charged for various photographic services. A schedule of fees should include studio sittings, location photography (outside the studio), and costs for production of proofs as well as a price structure for finished photographs in different sizes, unframed and as finished framed prints. See notes in Objective In order to be successful, it may be important to develop a service specialty; for example, a landscape photographer who markets the photographs at craft fairs, or sells the photographs on consignment in galleries, gift stores, souvenir shops, or on display in restaurants and other similar locations. Have students research the publication of photographs in book format as a means of marketing the photographs of a particular artist dealing with a single theme. Check the bibliography for information on books of published photographers. A large number of professional photographers maintain websites on the Internet to advertise their services and to display their work in online galleries. 75

82 Module 34: History of Printing (Optional) Suggested time: 3-5 hours Prerequisite: None Level: Intermediate Foundational Objective To develop an appreciation of graphic arts and the impact of new technologies on the industry. Common Essential Learnings Foundational Objectives To be able to explain how lithography works. (COM, TL) To explore the evolution of technological innovations within graphic Arts with a focus on the innovation and the steps involved in the industry s development. (TL) Learning Objectives 34.1 To discuss the need for written communication. (COM) Have the students discuss how written communication is used to inform, to entertain, to educate, and to persuade. Students could search the Internet for information on the evolution of written communication and share their findings To describe the stages of development for written communication. (COM) Pictographs were among the earliest forms of written communication. Many examples of pictographs made by aboriginal people exist in Saskatchewan. Have the students find examples of pictographs and, if possible, create an activity to emulate the early pictographic techniques. In order to make histories portable, images were recorded on stone tablets, clay tablets, or animal hides. The Egyptians were the first to develop a form of paper called papyrus. Students could experiment with a variety of methods to produce paper from new or recycled materials or with paper returned for recycling To understand and use the language of graphic arts and commercial printing. Students should become familiar with the terminology used in graphic arts and the commercial printing industry (e.g., lithography, pictographs, papyrus). Teachers may wish to initiate the development of a graphic arts glossary to be extended and used throughout the course(s). 76

83 Learning Objectives 34.4 To describe the evolution of moveable type in the mechanical printing process. Have the students research the development of moveable type. An activity that might provide some insight to the importance of this invention would be to have students create a linoleum block cutting of their name or a logo. This exercise would illustrate printing without the advantages of moveable type. See the Internet for further information on the importance and evolution of type fonts. Photocopiers and laser printers have become integral parts of modern business equipment. These machines use a photoelectrostatic process to record type fonts as print. Digital printing and transfer of data is revolutionizing the graphic arts industry. Have the students research and report on the inventors and on improvements in printing technology. Students might produce a time line indicating the significant events and stages in the development of printing technology To discuss the impact of digital technology on printing and graphic processes. Investigate a variety of software packages to review the capabilities of digital printing and publishing. 77

84 Module 35: Introduction to Graphic Design (Core) Suggested time: 2-10 hours Prerequisite: None Level: Introductory Foundational Objectives To examine the effect of the elements and principles of design in graphic design. Common Essential Learnings Foundational Objectives To be able to discuss formal and informal applications of design principles. (COM) To be able to identify colour properties and attributes (TL) Learning Objectives 35.1 To understand the basic elements and principles of graphic design. (COM) Have the students discuss the elements: colour, value, point, line, texture, direction, shape and size. Have the students discuss the design principles: dominance, contrast, unity, harmony, alternation, repetition, gradation and balance. Indicate to students that other disciplines emphasize other elements and principles of design. These concepts are also discussed in the Design Studies 10, 20 Curriculum Guide and the Visual Art10, 20, 30 Curriculum Guide To construct a colour wheel with primary, secondary and tertiary colours. (TL) The colour wheel illustrates the various primary, secondary and tertiary colours and their relationship to each other. Include primary, secondary and tertiary colours and have the students identify the complementary, analogous, and triadic colour schemes in relation to the colour wheel. Discuss value and intensity as terms related to the brightness and dullness and lightness and darkness of the various hues To describe the psychological attributes of colour. (COM) Have the students discuss the psychological impact of colour and ways designers use the various hues in their work. 78

85 Learning Objectives 35.4 To experiment with the elements and principles design through the creation of a personal logo or emblem. (CCT) Have students produce thumbnail sketches for a personal emblem of their initials or a logo design. This is a good opportunity to reinforce and practise the use of the principles and elements of design. Consider having the students present and discuss the finished product of their design with classmates. The five types of logo identity the students should be familiar with include: Logotype: a manipulation of letter forms to create a distinctive image, e.g., Coca-Cola Monogram: a simple rendition of a complex name, e.g., NorTel, CBC Typographical image: graphic designs that are added to type, e.g., Nike Pictogram: a stylized or simplified image that has its origin in natural or formula elements, e.g., CBC globe, CBS eye Symbolic image: an attractive arrangement of devices that demonstrates a more emotional response than a tangible image. e.g., Mercedes Benz, WHMIS logos, traffic signs and symbols. 79

86 Module 36: Introduction to Graphic Mechanical Layout (Core) Suggested time: 3-5 hours Prerequisite: Module 35 Level: Introductory Foundational Objective To examine the effect of the elements and principles of design in graphic design. To develop skills associated with a variety of tools, materials and techniques used in the graphic arts industry. Common Essential Learnings Foundational Objectives To demonstrate attention to detail. (PSVS) To strengthen students knowledge and understanding within graphic arts areas through applying knowledge of numbers. (NUM) Learning Objectives 36.1 To construct a graphic layout using hand tools. (TL) Have students use a drawing board and table with a T square, set squares, non-reproducing pencil, cutting tools and glue sticks to create a graphic layout. Refer to the Drafting and Computer-Aided Design 10, 20, 30 Curriculum Guide, Module 2 for more information. Have students discuss the function and application of their design layout. Include typography, point system, justification and line length in the discussion. As an exercise, students might choose a variety of words and then select a typeface that would visually describe those words (e.g., concrete, giant, shadow, flowing, etc.). Most type is now produced using computer software and connected hardware. Discuss other ways that might be used to produce type such as dry transfer, linotype, calligraphy, etc To size various elements appropriately for the selected design. (NUM) Have the students discuss the enlargement and reduction of the various parts of their design. Discuss the use of proportion, scale and percentage calculations in sizing design parts. Discuss the need for a dominant feature in their ad assignment To create a complete layout of the components of a onepage advertisement. (CCT, IL) Have the students do a monochromatic advertisement layout that is on standard letter size stock and includes a headline, body type and a logo (clip art could be used). Body copy could be rendered simply with parallel lines (no text). Type could be produced on transparent paper and then positioned over the art work for the most effective arrangement. Emphasize that cleanliness and accuracy are critical to producing a layout of acceptable quality. 80

87 Learning Objectives Demonstrate for students that as a designer there are two ways to create a path to guide the reader s eyes. It is important for the eyes to move from one element to another. This is called rhythm or eyeflow. The ad can be designed to take advantage of the reader s natural eye-flow or the reader s eye-flow can be altered to go where the designer wishes. When this flow is smooth, the rhythm is pleasing. In our culture, a natural path causes the eye to start across an image from the upper left-hand corner in a Z path across the page ending in the lower right corner. However, ones true inclination is for the eye to enter the page at the optical centre (about 5/8 from the bottom and 1/3 from the left edge.) The optical centre is an excellent spot to locate a logo, art or a headline. A second option is to use large portions of the design to cause the eye to move to that spot immediately, whether or not it is at the optical centre. An eye-catching colour will have the same effect. This is the effect of dominance or emphasis in a design. 81

88 Module 37: Computer-Aided Graphic Design (Core) Suggested time: hours Prerequisite: Module 35 Level: Introductory Foundational Objectives To foster an awareness of quality as it pertains to image development and production. To increase self-esteem from success with the production equipment, materials and techniques used. To examine the effect of the elements and principles of design in graphic design. To use digital technology in the production of a graphic design. Common Essential Learnings Foundational Objective To enable students to understand and use the vocabulary, structures and forms of expression related to graphic arts. (COM) To develop the ability to read about, understand and develop skills related to the use of computer equipment. (COM) To provide students with opportunities for active involvement in preparing graphic designs. (IL) Learning Objectives 37.1 To demonstrate the use of a variety of tools and commands used in design programs. (TL) Review the manuals or computer tutorial with the students so that they become familiar with the vocabulary and the techniques required to use the program. Topics to cover include the use of tools, drawing paths, selecting and editing objects, painting, transformation tools and filters. It can be a valuable experience for students to explore the tools and features of a program before reviewing the manuals or tutorials. Students may be assigned different tools or features to explore and to explain to their classmates. This is valuable experiential learning that tends to make students more receptive to reading program manuals To describe different types of graphics programs (desk-top publishing) used in the industry. (COM) Have the students collect examples of different programs that are in current use in the graphics industry. Program types to include are painting, drawing, type manipulation and image manipulation. Page layout applications are important as well. These programs are designed to bring together diverse elements created by other applications To create a simple graphic using computer software. (TL, CCT) Have students review the tutorials and manuals that come with the software before they build their own graphic. Have the students complete a graphic of a cube, a three-dimensional number or letter, a simple car, etc To define terms used with electronic design. (COM) Have the students research Internet sites for different design terms used for different design problems. 82

89 Learning Objectives 37.5 To use word processing software to create a word document. (COM, IL) Students will benefit from being familiar with word processing software so that they can create a document that uses a variety of type styles and fonts. Have the students discuss different font styles and sizes and where the different styles might be appropriate. Consider working collaboratively with teachers of other courses such as Journalism Studies, Computer Production Technology or Information Processing to create posters, newspapers, T-shirts, etc. 83

90 Module 38: Packaging (Core) Suggested time: hours Prerequisite: Modules 34 and 35 Level: Intermediate Foundational Objectives To develop skills associated with the equipment, materials and techniques used in the graphic arts industry. To develop an appreciation of graphic arts and the impact of new technologies on the industry. To increase self-esteem from success with the production equipment, materials and techniques used. Common Essential Learnings Foundational Objectives To be aware of career development opportunities in the graphic arts industry. (PSVS) To provide opportunities for students active involvement in decision-making related to technological developments. (TL) To research the effects of product packaging on the consumer market. (IL, CCT) Learning Objectives 38.1 To explore how packaging impacts consumerism. (IL) Have the students collect examples of different types and styles of packaging and bring them to class for display. The students can discuss what makes some packaging more desirable and successful than others To compare the visual effect of different types of packaging for consumables. (CCT) Products such as toothpaste, soap, cereals, chocolate bars and snacks are good examples of packages designed for visual effect. Have the students evaluate each design by looking at the basic elements in the package design. See the Design Studies 10, 20 Curriculum Guide for further information on the elements of design Module To develop a product idea and the packaging required. (IL, TL) Have the students brainstorm ideas for products and packaging and select a product to develop that would be packaged. Establish the price, quality and product image within its market To develop an original product name that reflects the product. (CCT) Students should consider the following: target audience -- the group most likely to purchase the product the product should reflect the target audience s trends, age, needs and desires To create a product identity by freehand sketching (IL) Have the students create a logo to coordinate with their product name, target audience and package design. For additional information on freehand sketching see Module 3 of the Drafting and Computer-Aided Design 10, 20, 30 Curriculum Guide. 84

91 Learning Objectives 38.6 To render a camera ready black and white logo from freehand sketches. Have the students use a computer drawing program to produce a final drawing of their freehand sketches to produce a finished logo suitable for printing. It may be necessary to review basic tool use for the computer design program the students are using, to allow them to manipulate the selected type face with various fills, strokes and vector effects To develop a two dimensional representation of a three dimensional object (CCT, COM) This exercise helps students to create images on a flat surface that represent a container to hold a dry product. The students will need to decide the shape and dimensions of the product that they will be packaging for this assignment. Have the students bring a variety of cardboard containers, disassemble them and examine the layout of the package. Note the arrangement of faces, edges, folds and flaps. Have students decide what information might be placed on the faces of the package. Logos, text and illustrations linked to product identity display what is the most important product information. The remaining surfaces of the container will contain technical and legal information (e.g., contents, ingredients, preparation or use directions, bar codes, etc.) 38.8 To create a prototype of a product package. (NUM, CCT) The students will need to do some calculations to determine the sizes and the ratio of the sizes of the various faces, sides and ends to one another on their container/package. Make certain that the template being created includes: front, side, back, side, tuck flap (front flap), base flaps, side flaps and glue seam. The template when completed will be a map or web of the finished package. To obtain similar results, photocopy a disassembled package placing black paper around the opened package to provide an easily recognized border to outline the copied template. Then, with a pencil, use dotted lines to indicate folded edges. Make a copy of the template for the students. The students can then place their camera ready pieces on the template in the appropriate position. Use a grid to be certain that all the elements will line up and are straight To incorporate all the elements to complete a package design. (IL) The process is called creating a flat. All the elements are pasted onto the template and then copied to heavier stock to create a realistic package. The use of a grid will reinforce the importance of composition to create an effective layout. 85

92 Learning Objectives To develop skill as a graphic artist through the use of critiques. (IL, PSVS) This is a very important skill to develop in order to improve the work of individual students. Critiques point to areas that need improvement, as well as those that are pleasing to the critic. It is intended as a balanced opportunity to learn from critiques as well as to give a critique to another student To maintain a design or presentation portfolio and journal of assignments and completed work. (PSVS) Students need to recognize the importance of building a design or presentation portfolio of their accomplishments, to illustrate the work they are doing in the class. It is also worth noting that some post-secondary institutions require a portfolio as part of the program entrance requirement. The Arts Education Curriculum Guide 10, 20, 30 contains information relevant to design portfolio development. The student design or presentation portfolio should include examples that demonstrate the various assignments completed in the course. Students also need to learn to tailor a portfolio presentation to meet the need of a specific client. Have the students do presentations of their design or presentation portfolios for other members of the class. This will help to develop self-confidence and improve their ability to speak confidently in an interview situation. 86

93 Module 39: Scanning and Design (Core) Suggested time: 4-6 hours Prerequisite: Module 37 Level: Intermediate Foundational Objectives To foster an awareness of quality as it pertains to image development and production. To increase self-esteem from success with the production equipment, materials and techniques used. To examine the effect of the elements and principles of design in graphic design. Common Essential Learnings Foundational Objectives To provide opportunities for active student involvement in decision-making related to technological developments. (TL) To develop students abilities to meet their own learning needs. (IL) Learning Objectives 39.1 To use a digital scanner to scan and store graphic information. (TL) Have the students work through manuals and tutorials in the software programs if they are available. Features to review include: Preview or Pre-scan: to view the image as the scanner sees it. Scan Mode: the format that the scanner collects and saves an image. The three most common are: Black and white line art (no gray scale) Grayscale: colours interpreted as shades of gray Colour: requires more storage than the grayscale. Resolution: scan resolution is measured in dots per inch (dpi), the more dots per inch that the scanner can read the higher (better) the resolution (sharpness) of the scanned image. Dots per inch are also called pixels, which are the minute spots or spaces that comprise an electronic image. Choosing a higher resolution than needed will create a large file to store, display and print with little noticeable image improvement. If too low a resolution is selected, the image will be jagged and coarse and detail will be lost. The greater the number of pixels, the greater the image detail. Scale: if an image is scaled down, the resolution of the image improves. The more an image is enlarged, the poorer the resolution. Images should be scanned at the size they will be in the final printed piece to maintain the best image quality. To calculate the enlargement or reduction factor (called the sizing factor), use the following formula: Image Resolution = Lines per Inch x Quality Factor x Sizing Factor 87

94 Learning Objectives 39.2 To design and create letterhead stationery. (TL, IL) Have the students select a famous personality for whom a wide variety of images are available without copyright, (e.g., motion picture stars or political figures), scan images and type that will reflect the attributes or characteristics of the selected personality. Brainstorm items and use thumbnail sketches to layout the images and type fonts appropriate for the characteristics and the era being represented. Complete the layouts of the thumbnail sketches, proof and print the final design. The letterhead package could include: Stationery Envelope Accounting forms. As an another assignment, have the students create a logo with their name or initials and prepare a personal letterhead/stationery package. They could include their own image as well. This assignment might be a useful artifact in the student s presentation portfolio. 88

95 Module 40: Introduction to Airbrushing (Core) Suggested time: 5-10 hours Prerequisite: None Level: Introductory Foundational Objectives To develop skills associated with the equipment, materials and techniques used in the graphic arts industry. To develop an awareness of ethical and legal issues, such as copyright protection. To increase self-esteem from success with the production equipment, materials and techniques used. To work safely and cooperatively with other students and handle materials in a safe manner. Common Essential Learnings Foundational Objectives To develop an understanding of how knowledge is created, evaluated, refined and changed within graphic arts. (CCT) To promote both intuitive, imaginative thought and the ability to evaluate ideas, processes, experiences and objects in meaningful contexts. (CCT) To develop students abilities to meet their own learning needs. (IL) Learning Objectives 40.1 To review the historical use of airbrushing. (COM, TL) Have the students research the early airbrush work using powder dyes and hollow straws that can be traced for several thousand years To explain the differences in operating characteristics of airbrushes. (COM) Have the students describe the differences between single acting and double acting airbrushes. Have the students name the parts of the airbrush and explain the proper technique to assemble and disassemble the airbrush. Discuss proper safety procedures to deal with airbrushes. Remind the students about the dangers of spraying without the use of an exhaust fan and spray booth. Have examples of students airbrush work on display to use to illustrate various techniques To prepare paints for airbrush application. (NUM) As a variety of different types of paint may be applied with an airbrush, the students should practise measuring the paint, and the thinners and solvents required to spray the selected paint product. It is recommended that fluid acrylic paints be used as they are water based and produce no volatile vapors when mixed for use with the air brush. 89

96 Learning Objectives 40.4 To develop proper airbrush holding and trigger control techniques. (PSVS, IL) Have the students practise starting and stopping the paintflow and the start and stop stroke techniques To develop skill in the application of various levels of paint gradation. (PSVS) Students will need to protect their clothing when airbrushing. Coveralls or shop coats with long sleeves offer the best protection To demonstrate the use of painting masks and shields. (IL) The use of masks or friskets to block paint from specific areas is important to layout To use of an airbrush to create a three-dimensional image on a two dimensional surface. (IL) The students may demonstrate this technique using shading and shadows To demonstrate the correct method to clean and store airbrush equipment. (PSVS) Stress the importance of thoroughly cleaning all the equipment to maintain the good condition of the airbrush equipment. 90

97 Module 41: Colour Uses by Designers (Core) Suggested time: 3-5 hours Prerequisite: Module 35 Level: Intermediate Foundational Objectives To develop skills associated with the equipment, materials and techniques used in the graphic arts industry. To foster an awareness of quality and practise good techniques. To examine the effect of the elements and principles of design in graphic design. Common Essential Learnings Foundational Objectives To develop students appreciation of the value and limitations of technology with graphic arts. (TL) To be able to use colour to produce an effective design. (CCT) Learning Objectives 41.1 To understand the impact of colour in graphic designs. (CCT) Have students brainstorm situations and ideas that are equally as impressive in black and white as they are in colour. Some things are created in black and white for purposes of impact but in most situations it is colour that creates impact To explore the ways in which fashion influences colour popularity each year or each season. Colour trends are forecast for designers, manufacturers, architects, stylists and retailers at the beginning of every year. Have students review resources that predict trends in colour and locate evidence to support their findings. Organizations such as The Colour Association of the USA develop these forecasts. Acrylic and latex paint colours (house paints) are one type of colour that can be researched to detect trends To identify the uses of colour for advertising purposes. (CCT) Have the students research the effect that packaging colour has on consumers and the choices consumers make when buying a product. (For example, in a survey conducted by The Colour Institute of America to discover consumer preferences, the following findings were uncovered: When the same detergent was packed in three differently coloured boxes, consumers were asked for their opinion of the product. Each group had different a opinion as to the cleaning properties of the product it had been using. The detergent in the yellow box was too strong, the blue box left the clothes looking dirty but the multi-coloured box worked well.) Have students conduct a similar survey with a product that is of interest to them. Contact consumer organizations or research consumer publications to determine the findings of similar research. 91

98 Learning Objectives 41.4 To explore colour theory and to examine the effects of colour. (CCT) Have the students develop testing methods to determine the emotions that colours affect. Some points to consider when conducting consumer tests: Colours may produce predicable results. For most people: Blue and pink calm and relax Red creates excitement Orange says affordable Yellow says caution Colour can increases sales Substantial increases in consumer product recognition usually occur when colour advertising is used instead of black and white. Colour Conditions Response Some colours can cause consumers to make product judgements that are not true. In a study of ice creams, a darker brown ice cream was more chocolatey and richer while the lighter coloured ice cream was creamier. Both products were identical except for the amount of food colouring added. Colour Differentiates The more colour the better. Full colour advertisements usually gain better response than two colour ads. Colour Pays Dividends Although ads using colour are more expensive to produce than black and white, the results of using colour usually far exceed the cost. Colour Improves Comprehension and Recall Retention and comprehension improve dramatically when colour is used. Have students prepare a survey for other students using books that have black and white copy with those that have colour, then measure the results of the survey to see which has better acceptance. 92

99 Module 42: Outdoor Advertising (Core) Suggested time: hours Prerequisite: Module 41 Level: Intermediate Foundational Objectives To develop skills associated with the equipment, materials and techniques used in the graphic arts industry. To develop an appreciation of graphic arts and the impact of new technologies on the industry. To increase self-esteem from success with the production equipment, materials and techniques used. Common Essential Learnings Foundational Objectives To develop students appreciation of the value and limitations of technology within graphic arts. (TL) Learning Objectives 42.1 To recognize outdoor advertising and its place in the environment (TL) Have the students list the various outdoor advertising mediums with which they are familiar. Included in the list might be building signage, billboards, bus/taxi signage, mall posters and backlit panels. Have the students discuss the environmental impact of outdoor advertising To describe details that create effective outdoor advertising. (COM) 42.3 To describe the four basic elements of effective outdoor advertising. (COM) Have students list the elements they think make outdoor advertising work. Some points to consider: It must communicate the message in five seconds Can be selective to a target group 85% of possible markets are reached through outdoor advertising. Have the students collect images of a variety of outdoor advertisements using a digital camera. Have them evaluate the collection to determine the effectiveness of each and identify the key elements. Questions the students might consider as part of their evaluation might include: Does the advertisement use clean legible type? Too light it disappears at less than 80 metres Too large blends together and tends to appear as a blob. Does the advertisement make use of contrasting colours? Put one colour against its complement to make its images and type stand out. Complementary colours increase colour intensity. Are the graphics simple and easy to understand? Make graphics simple yet recognizable, a shape that suggests an idea and communicates it quickly. Is the advertisement simple and straight forward? Make one strong statement with the advertisement, a picture is worth a thousand words To create an outdoor advertisement. (IL) Have students brainstorm to develop an idea for their ad, then use thumbnail sketches to develop the idea to a colour mock-up using a variety of media (airbrush, paint, computer). 93

100 Module 43: Introductory Screen Process Printing (Core) Suggested time: 5-10 hours Prerequisite: None Level: Introductory Foundational Objectives To develop skills associated with the equipment, materials and techniques used in the graphic arts industry. To increase self-esteem from success with the production equipment, materials and techniques used. To identify and explain health and safety hazards in the workplace so that the potential for personal injury and damage to the equipment and the environment are minimized. Common Essential Learnings Foundational Objectives To understand the basic principles of using a stencil to produce an image (CCT) To develop students appreciation of the value and limitations of technology within graphic arts. (IL) Learning Objectives 43.1 To identify the equipment and materials used to produce a silkscreen print image by manual methods. (CCT) The basic equipment includes: screen material, frame, screen board with hinges, stencil material, cutting tools, squeegee, ink and paper. There are a variety of squeegee blades and cutting tools available, each designed for different screen printing applications To prepare a single colour image using a hand-cut stencil. (IL) Display examples of images that have been completed by other students using this process. Have the students collect examples that could be printed using a stencil and screen process. Magazines might be a source for ideas. Some explanation of the copyright laws may be necessary to inform students of what they may copy and what may be a protected or copyrighted image. A simple stencil can be made from paper using very sharp blades to make sharp edge cuts. Review safety precautions with students about careful use of cutting instruments To explore the advantages and disadvantages of water-based and lacquer-based products. (COM) Commercially available stencil products have a clear backing layer and a film layer. There are two types of stencils available. One type is water-soluble; the other lacquer-soluble. Water-soluble film stencils are not recommended for use with water based inks as they can damage the prepared stencil. Similarly lacquer-soluble film is not recommended for use with lacquer-based inks. The most popular option for school use is to use lacquer-soluble film and water based inks. 94

101 Learning Objectives Review safety precautions with students when working with lacquer solvent. Ensure proper ventilation (possibly a nearby exhaust fan vented outside the building). Store in tightly closed metal containers. Ensure that the handling or disposal of waste products is done correctly. Lacquer solvents are very volatile and must be properly disposed of to prevent combustion To produce a printed image using the hand-cut stencil. (IL) The first stencils students prepare should be a simple design in order to learn the process before moving on to more complicated or multi-pass stencils. Have students clean and prepare the fabric so the stencil will stick firmly to the screen. Adhere the film to the screen following the manufacturer s recommendations. Students should wear a lab or shop coat to protect their clothes when screen printing. After a stencil has been proven, the design may be copied onto fabric such as a t-shirt. 95

102 Module 44: Intermediate Screen Process Printing (Optional) Suggested time: 5-10 hours Prerequisite: Module 43 Level: Intermediate Foundational Objectives To develop skills associated with the equipment, materials and techniques used in the graphic arts industry. To foster an awareness of quality as it pertains to image development and production. To increase self-esteem from success with the production equipment, materials and techniques used. To maintain a design portfolio of current work and assemble a presentation portfolio. Common Essential Learnings Foundational Objectives To support the development of a positive disposition to life-long learning. (PSVS) To understand the basic principles of colour registration when printing two coloured images. (IL) Learning Objectives 44.1 To demonstrate the preparation of a silkscreening frame for printing. (TL) Have the students make their own screen printing unit. See the resources for detailed information To prepare two hand-cut stencils to create a composite image. (IL) Have the students select an image that will require two colours to complete. The stencils will need to have registration marks so that they will be aligned perfectly when the second colour is placed onto the print surface. Display examples of the process to illustrate the importance of the registration marks. It will be necessary to make a number of copies of the first colour, if the same screen-printing unit is to be used for the second colour as well. Have students attempt to produce more than one example To produce a series of multicoloured prints. (IL) Have the students submit a number of copies of their product for assessment. The ability to create copies that are identical in colour and registry is the goal. 96

103 Module 45: Intermediate Airbrush, Beyond the Basics (Optional) Suggested time: hours Prerequisite: Module 40 Level: Intermediate Foundational Objectives To develop skills associated with the equipment, materials and techniques used in the graphic arts industry. To foster an awareness of quality as it pertains to image development and production. To increase self-esteem from success with the production equipment, materials and techniques used. To maintain a design portfolio of current work and assemble a presentation portfolio. Common Essential Learnings Foundational Objective(s) To support the development of a positive disposition to life-long learning. (PSVS) Learning Objectives 45.1 To demonstrate control of the start-stop stroke with the airbrush. (TL) This is the fundamental control stroke of airbrushing and must be mastered to be successful with this medium To select appropriate airbrush attachments to complete specific tasks. (TL) A variety of nozzles and needles are available to achieve a variety of different patterns. By incorporating the use of masks, friskets and shields, a wide variety of results is possible. Have the students identify a variety of accessories and the purpose they serve with the airbrush To demonstrate the use of a variety of different attachments for an airbrush. Review health and safety precautions necessary when using an airbrush. Have the students practise mixing different types of paints to the correct consistency for spraying with different attachments To demonstrate a variety of airbrush techniques. Have the students demonstrate the following techniques: Creation of very dense lines as well as broad diffused lines Production of a flat even tone in a masked area with multiple passes. Creation of a graded tone in a masked area with a number of passes. The use of a frisket to show blending and sharp edge methods. Production of a three-dimensional appearance on a two dimensional surface. The use of trade shortcuts to complete different tasks. The proper cleaning and storage of the airbrush and its accessories. 97

104 Learning Objectives 45.5 To produce an illustration using an airbrush. Students may research a variety of sources for an illustration to use for a model (e.g., comic books, superhero figures, cartoon characters, CD or video covers) To maintain a design portfolio and journal of assignments and completed work. (PSVS) The student design portfolio should include examples that demonstrate the various assignments completed. The airbrush assignments are excellent examples of work that might be kept in a design portfolio. Have the students do presentations of their design and presentation portfolios for other members of the class. This will help to develop self-confidence and improve students ability to speak confidently in an interview situation. 98

105 Module 46: Portraits that Flatter (Optional) Suggested time: 5-10 hours Prerequisite: Module 7 Level: Intermediate Foundational Objectives To develop skills associated with the equipment, materials and techniques used in the graphic arts industry. To develop an appreciation of photography and/or graphic arts and the impact of new technologies on the industry. To develop proficiency with the production equipment, materials and techniques used. Common Essential Learnings Foundational Objectives To research and apply design principles used to create portraits. (IL) To analyze facial proportions and, using artificial light, to produce a photogenic image of a subject. (CCT) Learning Objectives 46.1 To identify facial features as proportions of the whole face. Have several examples of illustrations that demonstrate how proportions are determined to show students what to look for in their work. Have students frame a face in a camera viewfinder and look at the facial features and their proportions. Most faces have equal spacing between the lines that divide the following facial areas: Upper Band from the top of the head across the hairline including the forehead. Middle Band from the eyebrow line to the bottom of the nose. Lower Band from a line running across the base of the nose to the bottom of the chin. These bands vary slightly from face to face but also define how regular the face is in reality one to another To determine facial shape as one of four basic types. (CCT) Have students categorize faces in four categories; square, oval, round and triangular. A triangular face has a wider forehead - wider top band than lower band, whereas a square face has a wider lower band. If the face is of regular proportion it is termed an oval face and is typically the most photogenic and therefore easiest to photograph. 99

106 Learning Objectives 46.3 To determine the most pleasing viewpoint for facial compositions. (IL) Have the students discuss the characteristics or imperfections that might be avoided or included to create a particular subject s composition. There may be unattractive features on the face that can be avoided with careful positioning of the subject. For example, altering the lighting and/or the position of the subject or moving the camera typically may help to hide those undesirable features. The camera can be placed in one of three positions relative to the face of the subject: Neutral Position a close-up of the face with the camera level with the subject s eyes does not correct any facial features. High Angle emphasizes the upper band of the face and the eyes as they are closer to the camera and also shortens the neck. Low Angle brings out the middle and lower bands of the face emphasizing the neck, chin and mouth, and shortening the nose and forehead To compose and photograph a subject using appropriate techniques in a photogenic pose. (IL) For information on composition see Modules 27 and Appendix E. 100

107 Module 47: Be an Art Director (Optional) Suggested time: hours Prerequisite: Modules 27 and 36 Level: Intermediate Foundational Objectives To develop skills associated with the equipment, materials and techniques used in the graphic arts industry. To develop proficiency with the production equipment, materials and techniques used. To examine the effect of the elements and principles of design in graphic design. To maintain a design portfolio and journal of current work and assemble a presentation portfolio. Common Essential Learnings Foundational Objectives To evaluate examples of fashion photography analyzing the techniques of composition, pose and lighting. (CCT, TL) To develop students abilities to meet their own learning needs. (IL) Learning Objectives 47.1 To evaluate fashion photography for impact appeal. (CCT) Have students collect a variety of fashion images and sort them according to the type of photograph each represents. The types might include: head hair hair fashions or makeup head and shoulders hair fashions, makeup or jewellery three-quarter or full length clothing fashion active situations sportswear hands and feet jewellery, footwear, skin care and manicure. Have students select six images to work with as ideas in this module To create a swipe file. (CCT, IL) 47.3 To produce a fashion photograph based on a selected set of ideas. (IL) Have students create this type of scrapbook. Collect examples of advertisements and photographs that they find interesting. These pieces can be used later for ideas and inspiration when they work on assignments. Students should look for elements of composition, pose and cropping when making their project selection. Using thumbnail sketches of the selected images have the students plan their work on paper before attempting to produce an image. This reflects good business practice and avoids wasting time and money. Working from a prepared layout and composition drawings will assist with problem solving before the final image is produced. Planning ahead will also overcome the point and shoot mentality that can occur. Limit the number of exposures that can be made to emphasize the need to plan carefully. 101

108 Learning Objectives 47.1 To explain different lighting techniques. (TL) Using a variety of studio images have the students determine the lighting technique that was used to create the photograph. Have the students make thumbnail sketches of the lighting setup that they think was used and discuss their speculations. Attention should be given to: light quality - sharp or soft direction of main light source - look for catch lights in the model s eyes. additional light sources fill light, hair light, back light and reflectors To demonstrate trying to copy the images selected for this module. (IL) Have the students duplicate the six (or as many as can be finished) images they have selected. The images can be created in the studio or on location with appropriate props and equipment. The mimicry that the students are trying to achieve is based on the real life work of an art director working to satisfy a client To present the final product to the class. (PSVS) Have the students present their completed work accompanied by the original. This assignment should also be included in their presentation portfolio. 102

109 Module 48: Complex Layout (Optional) Suggested time: hours Prerequisite: Module 36 Level: Advanced Foundational Objectives To foster an awareness of quality as it pertains to image development and production. To examine the effect of the elements and principles of design in graphic arts and/or photography. Common Essential Learnings Foundational Objectives To be able to identify the guidelines for effective layout. (CCT) To strengthen students knowledge and understanding design and layout. Learning Objectives 48.1 To explore the use of white space as a design element. White space should always be kept to the outside of the design in order not to distract the viewer or reader s eye movement To understand the importance of the design elements in an advertisement. Each element within a layout should be aligned with at least one other element to create harmony and balance to make the advertisement easier to read To place illustrations in a face-in composition. (IL) To emphasize the importance of creating a sense of focus or unity, have a group of students demonstrate the following scene. Using a group of four students have three students look at an object or a book and one student in the group look or point away from that center of attention. Ask the other students in the class what effect the action of the single student has on the scene. Is that action creating a distraction? In a layout it is important to keep the reader focused on the subject therefore elements should all face-in to promote the subject To select and use an appropriate number and style of typefaces. (CCT) A basic rule of thumb is to use no more than three typefaces on a page. Have students develop an ad where more than three typefaces have been used and ask them their impressions about the effect To observe the effect of repetition of visual elements. Have the students collect different types of advertisements where there are repetitive elements. For example, geometric shapes can be repeated a number of times as a means of directing eye-flow across an ad in a specific pattern. A repeated element can vary in size or colour or be placed diagonally without affecting the desired result. 103

110 Learning Objectives 48.6 To understand the impact of a dominant feature in an advertisement. (CCT) Have the students collect advertisements that reflect different uses of a dominant feature and discuss the importance of dominant features to the success of the advertisement and the effect of a dominant feature in making a more eye-catching advertisement To create a feeling of unity in layout. Have students experiment with the design elements of a selected advertisement to see what creates the best eye-flow. They should discover that overlapping the elements within the advertisement contributes to a sense of unity within the layout To demonstrate the effective use of contrast in an advertisement layout. (IL) Have the students show how they might direct eye-flow through a sample layout with the use of light and dark areas on the layout. 104

111 Module 49: Business Promotion Package (Core) Suggested time: hours Prerequisite: Modules 35 and 38 Level: Advanced Foundational Objectives To develop an awareness of ethical and legal issues, such as copyright. To examine the effect of the elements and principles of design in graphic design and/or photography. To maintain a design portfolio of current work and assemble a presentation portfolio. To develop proficiency with the production equipment, materials and techniques used. Common Essential Learnings Foundational Objectives To develop students abilities to meet their own learning needs. (IL) To support the development of a positive disposition to life-long learning. (PSVS) Learning Objectives 49.1 To explore the different design elements of stationery and begin the design process for personal stationery. Have the students discuss the various pieces that might become part of a business or organization s stationery. Items to consider might include: letterhead stationery envelope invoice monthly statement cheque receipt account receivable statement thank you notes. Students will need to investigate the combinations of paper colour, ink colours and possible typefaces or print sizes and fonts to prepare a complete stationery package. The students will need a colour logo to be part of each piece. See Modules 7 and 8 for information on logos design To explore the design of a business card. (CCT) The business card should reflect the style, colour scheme and logo image of the other stationery forms. Have students examine a number of sample business cards and discuss the most effective presentation features. The person s name and job title on the card is placed away from the company name details. The person s job title is not as prominent and appears below his or her name To develop a pamphlet or direct mail insert advertisement. (CCT) Have the students collect a variety of pamphlets that are prepared on a single folded page. This type of pamphlet is not only used as a mailer but can often be found on counter displays or, for example, as a travel brochure. Have students prepare a series of thumbnail sketches of their ideas for a multi-fold advertisement. Typically, this type of advertisement would include a number of colours and the use of easily read text and attractive photos, in an easy eye flow arrangement. 105

112 Learning Objectives Have the students experiment with a number of different ways of folding the pamphlet or mail insert. Book style or accordion style are the most popular. This may depend, in part, on paper size. Explore optimum sizes for the folded document. Experiment with three and four-fold styles. The advertisement may also be developed as a landscape or portrait format. Complete the layout to establish the best effect. The advertisement could be printed on one or both surfaces depending on the amount of information, how the information is arranged and printing cost To prepare a cost estimate for printing. (NUM) Have the students research the cost of printing using a single colour or a number of different colours for their stationery package. Other cost considerations will include the paper colour, weight of stock and the paper s surface (glossy or mat finish). Cost estimates for the pamphlet mail insert brochure may also be done. When students are researching and calculating costs, obtain cost quotes for 100, 500 and 1000 copies of each of the selected forms. This will help them to understand that there may be savings achieved by ordering larger quantities to avoid additional set-up charges by the printing company. It might be valuable to have on hand a number of standard set-up costs to provide a guide for the students to follow; for example, the difference in cost for a three ink set-up as opposed to a two ink setup or the price differences for a number of paper weights or colours. 106

113 Module 50: Cover Design (Core) Suggested time: 5-10 hours Prerequisite: Modules 35, 37 and 41 Level: Advanced Foundational Objectives To develop an appreciation of graphic arts and/or photography and the impact of new technologies on the industry. To foster an awareness of quality as it pertains to image development and production. Common Essential Learnings Foundational Objective(s) To strengthen students knowledge and understanding design and layout. Learning Objectives 50.1 To collect characteristics important to cover design. (CCT) This module requires the knowledge of a graphic designer, an art director and a manager. Have the students review their knowledge of the key elements required to make effective design decisions. Have students design a cover that will have impact and catch the eye of the audience. Cover design examples suitable for this module might include book covers and dust jackets, compact discs (CDs), VHS cassettes, audio cassettes and DVDs. Students will need to discuss the use and placement of images, text and colour when making decisions about the content of their selected subject. An excellent project idea for this module is to design and produce a CD cover and present the completed assignment in a CD (jewel) case, as a class presentation To prepare a series of sketches of the elements that will be incorporated to create the cover. When the students have selected the type of cover they wish to prepare, they need to choose an artistic approach (photographic or illustrative) for their cover. If the project is a CD cover, most feature photographs rather than illustrations. If digital photography is being incorporated the image must be at least 250 dots per inch (dpi). Use old LP album covers and re-release CD covers to illustrate the change in trends, fashion and social tastes, to provide students with a historical perspective that may help them to create their cover To investigate various composition possibilities and compose and print a cover. Have the students review the compositional elements that they have selected. The cover will have front and back compositions and a spine that, generally, is mostly text. If a CD cover was selected as the subject for the assignment, have the student include a song list To compose and print the cover. Use image editing and layout software to build and produce the end product. 107

114 Module 51: Scanning and Colour Correction (Optional) Suggested time: 2-5 hours Prerequisite: Module 39 Level: Advanced Foundational Objectives To develop skills associated with the equipment, materials and techniques used in the graphic arts and/or photography industry. To develop proficiency with the production equipment, materials and techniques used. To use digital technology in the production of photographic work. Common Essential Learnings Foundational Objectives To be able to explain the components of a four-colour separation. (COM) To develop students appreciation of the value and limitations of technology within graphic arts and/or photography. (TL) To development students abilities to access knowledge. (IL) Learning Objectives 51.1 To manipulate scanned images with colour correction software. (TL) A computer s monitor projects additive colours using red, green and blue (RGB) light. If, for example, the image is to be printed on an offset press that prints subtractive colours using: cyan, magenta, yellow and black (CMYK, where K is black) or spot colour inks, the output image will only match the monitor image, if the monitor is calibrated to that particular output device To manipulate the colour balance of a selected scanned image. Have the students find information for the selected software on the following topics: Monitor calibration Opening an image into the manipulation program Limiting tonal values of the image Adjust colour balance to correct undesirable shadows or colour castes. Use of the unsharp mask. Print a CMYK proof of the image Have the students print copies of the image before manipulation and after manipulation. 108

115 Module 52: Magazine Advertising (Core) Suggested time: hours Prerequisites: Modules 17, 18 and 20 Level: Advanced Foundational Objectives To develop an appreciation of graphic arts and/or photography and the impact of new technologies on the industry. To increase self-esteem from success with the production equipment, materials and techniques used. To enable students to understand and use the vocabulary and forms of expression related to graphic arts and/or photography. Common Essential Learnings Foundational Objectives To use the elements and principles of design to communicate to others. (COM) To prepare an advertisement as a one page advertisement. (IL) To present a creation to others. (COM) Learning Objectives 52.1 To select elements to produce a one page advertisement. (CCT) Have the students research and collect one page advertisements in a swipe file (a file that contains advertisements that have been swiped from various publications) to help form ideas that might be used to help create their own advertisement. It may be helpful to suggest that the students select at least two themes when they collect advertisements for their swipe file. An optional approach for this module may be for the student to select an advertisement from his or her swipe file and recreate the advertisement to be more effective (e.g., better layout and/or design). It may be possible to work with an outside group to produce an advertisement for an upcoming event in the community. The groups to approach might include service clubs, sports teams, school groups, community theatre or church groups To produce a series of thumbnail sketches for a variety of one page advertisements. (CCT) Have the students prepare sketches for a number of different advertisements as an exercise to develop skills in sketching ideas. This helps to locate artwork, headlines, line-copy and logo placement for a variety of advertisements that might include, products, events or services to the public. Remind students to include compositional and eye-flow considerations in their layouts. See Module 48 to review layout guidelines To create and print a one page advertisement. (IL) 52.4 To present the final product to the class. (PSVS) Have each student complete an advertisement for a product or subject of his or her choice that is created from their own original artwork, photography and line art. Have each student do a class presentation of his or her completed assignment for members of the class or the target audience of the advertisement. This will help to develop self-confidence and improve the ability to speak confidently in an interview situation. 109

116 Module 53: Advanced Airbrush Skills (Optional) Suggested time: hours Prerequisite: Module 45 Level: Advanced Foundational Objectives To foster an awareness of quality as it pertains to image development and production. To develop an understanding of the impact of new technologies on the photography and graphic arts industry. Common Essential Learnings Foundational Objectives To develop skill using tools, materials and techniques used in the industry. (TL) To develop an understanding of how knowledge is created, evaluated, refined and changed within graphic arts. (CCT) Learning Objectives 53.1 To select a subject for an illustration of a face. The selected subject should have shadow areas on the face to emphasize characteristics and facial details. Have the students begin by working from a photograph as their model. A line sketch should be prepared of the selected model on illustration board or airbrush paper. Students should consider and discuss the different techniques that will be used to create a two dimensional representation of a face that appears three dimensional To mix colours for air brush application. (NUM) The use of an airbrush often requires the mixing of paints to lighter or darker shades. The students will need to practise measuring paints and keeping track of dilution ratios for various applications To research commercial applications for airbrush technique. (IL) Have the students conduct research to find commercial market applications for airbrush skills. This might be an opportunity for an entrepreneurial venture that students could design and develop a market for their own product or idea. Examples that might provide some direction include: T-shirt art Goalie masks Motorcycle or bike helmets Airbrush illustrations Posters Model painting Architectural illustrations This might be an excellent project to include in the presentation portfolio to illustrate the student s ability to develop a design or demonstrate teamwork capabilities. 110

117 Learning Objectives 53.4 To demonstrate paint layering using an airbrush to produce a three-dimensional image on a two-dimensional surface. The focus of the exercise is to paint the face as areas of light and shadow. The lightest areas will be sprayed with paint shaded (flesh tone one) to create the highlight areas to begin the threedimensional lighting for the face. Mix a second batch of paint to a darker tone (flesh tone two) and continue to work this second layer to enrich the colour of the face. The third mix (flesh tone three, a burnt sienna colour) will be applied to areas of angled deeper shadow to increase the dimensional features of the face. The procedure for layering differs from other painting techniques. Each colour layer is applied completely before the next layer is added, never returning to the lighter colour used previously. This process could be compared to the colour printing process where individual colours are printed separately. Considerations for the addition of facial features. Lips and gums are darker and pinker than flesh tones. Pupils, eyelashes, corners of the mouth, and dark areas of the ear are hand brushed. Hair is painted freehand in several layers using long rapid parallel, and perhaps, wavy passes of paint. Dark hair is made beginning with an undertone of colourful highlight with the majority of darker tones (black, brown) layered on top of the highlight. Light hair has a white or luminous quality with darker highlight colour tones. Cheek highlights are added using transparent white. Hand brushing is used for catch-lights in the eyes and glistening shine on the lips. 111

118 Module 54: Cartooning (Optional) Suggested time: 5-10 hours Prerequisite: None Level: Introductory Foundational Objectives To become knowledgeable about career development opportunities in the graphic arts and/or photography industries. To increase self-esteem from success with the production equipment, materials and techniques used. Common Essential Learnings Foundational Objectives To develop an understanding of how knowledge is created, evaluated, refined and changed within graphic arts. (CCT) Learning Objectives 54.1 To explore various uses of cartoon images. (COM) Have students collect examples of different cartoons and put them into categories. Have the students discuss the uses of cartoons such as humour, editorial, animation and illustration. Have students analyse the differences in style of different artists. What things are unique to each artist To be aware of the need for simplification when producing a cartoon. (CCT) 54.3 To create a simple cartoon character. (IL) Have the students collect or prepare examples of the way cartoons simplify characteristics (a large head, three fingers, etc.). Have students create a stick-figure then exaggerate some of the character s features (e.g., a round face, large nose, wearing a hat, gloves or shoes) To use call-outs to include dialogue with a cartoon character. Have the students collect cartoon examples that reflect different conventions for the use of call-outs, also called balloons. The convention is that a series of bubbles leading to the balloon indicates a thought rather than a spoken dialogue, a ragged balloon indicates anger, etc To produce a cartoon strip. (IL) Have the students produce a black and white strip of three or four frames using a character that they have developed To produce a single figure animation. (IL) Have students create a small cartoon flip that creates an animation to simulate an action. For a more extensive treatment of animation see the Communication Production Technology 10, 20, 30 Curriculum Guide Module

119 Module 55: Advanced Screen Process Printing (Optional) Suggested time: 5-10 hours Prerequisite: Module 44 Level: Advanced Foundational Objectives To develop skills associated with a variety of tools, materials and techniques used in the graphic arts industry. To foster an awareness of quality as it pertains to image development and production. To develop proficiency with the production equipment, materials and techniques used. To maintain a working portfolio and assemble a presentation portfolio. Common Essential Learnings Foundational Objectives To support the development of a positive disposition to life-long learning. (PSVS) To produce multiple copies of one image using a variety of colours. (IL) Learning Objectives 55.1 To develop sketches for a stencil set. (CCT) Have the students prepare a series of thumbnail sketches to show the various stencils that will be needed and how they will be cut to make up their screened product. An additional sketch of the product describing the overlay effect on design and colour blends that will result from the multiple passes would be beneficial To prepare stencils for multiple pass printing. (IL) Have the students review resources on printmaking. There are a number of methods that can be used to create stencils including: Block-out Direct Indirect Photo emulsion 55.3 To print a product using a multiple colour run. (PSVS) Have the students prepare and execute a five colour (or more if the colours are transparent) run on a number of copies to practise producing a consistent result To do screen printing using water based inks. Have students prepare their own water based screen inks. The process is explained in Appendix F. 113

120 Module 56A, B, C, D, E: Work Study Preparation and Follow-up Activities (Optional) Note: Module 56 Work Study Preparation and Follow-up Activities is 5 to 10 hours. If students have participated in a work study module in a previous Practical and Applied Arts course, a review of this module is still required but less time is needed. Suggested time: 5-10 hours Prerequisite: None Level: Introductory/Advanced Module Overview Students will prepare for work study in the community. Expectations for the student, the teacher and the employer should be discussed. During follow-up, students will reflect on work study experiences. Foundational Objectives To develop workplace skills, knowledge and attitudes that may lead to successful employment. To understand how skills acquired in school may transfer to the workplace. Common Essential Learnings Foundational Objective(s) To demonstrate skills and attitudes that contribute to the development of positive human relationships. (IL, PSVS) Learning Objectives 56.1 To be aware of the expectations of each of the partners in the work study component. In order to establish a successful working relationship with all the partners involved in the workplace, it is important to define the expectations of each partner. For a list of roles and responsibilities of the business, personnel, manager, teacher monitor, school, parent and student, see the Work Study Guidelines for the Practical and Applied Arts included in the Practical and Applied Arts Handbook To determine the factors that may affect the student s contribution in the workplace. (CCT) Brainstorm a list, then verify through experience. The list may include previous work experience, volunteer work, teamwork activities and extra-curricular participation within the school To build good communication skills for the workplace. (COM, PSVS) Discuss verbal and non-verbal communication. List some ways in which negative and positive non-verbal communication may be displayed. Encourage students to role play ways of demonstrating effective techniques of verbal communication on the job when giving or receiving instructions and resolving conflict. Use case studies, and divide the students into groups to role play how effective communication may be used to resolve conflict on the job. Emphasize the Employability Skills Profile (from the Conference Board of Canada) and compare the Employability Skills to the Common Essential Learnings of Saskatchewan s curriculum. Make the direct link between skill development in this course and the needs of employers. Development of skills and documentation of the skills leads to employment using those skills. 114

121 Learning Objectives 56.4 To develop a résumé that may be forwarded to a potential employer. The student will develop a résumé using the correct format. (IL) The resumé may be used to introduce the student to the employer of a workplace site prior to an interview. Teachers are encouraged to work with other staff members to ensure résumé preparation is taught. Résumé writing is covered in English Language Arts 20 and A30, Information Processing 10, 20, 30 and Career and Work Exploration 10, 20, A30, B30 curriculum guides. Students should save their résumé and update it as changes need to be made and as references are added. Skills that have been developed can also be added to the updated résumé To create a student guide in preparation for an interview. Students should develop their résumés and update them during the course, as work placement references are accumulated. A discussion with students about the benefits of a portfolio of sample work is appropriate at this time. A personal website that highlights the student s skills and training might be created and referred to in the résumé. If students have already completed a résumé and cover letter in another course, the teacher may do a review and encourage students to update their information. Each student should submit a résumé for teacher approval prior to going to an interview or directly to the workplace To determine student guidelines in preparation for an interview. (COM) Through a classroom discussion or in groups, students should compile a guide for job interviews. After the students formulate their guide, the teacher may prompt them for missing items. Outline and describe the three stages of an interview. Point out to students at which stage of the interview each of the guidelines previously discussed will be used. The greeting involves an introduction between the student and employer. Discuss or demonstrate how this should be done. The exchange is the longest part of the interview where the employer asks a series of questions and engages in a dialogue with the student about information on the resumé and other matters relating to the job. A student s portfolio may be examined by the employer as part of the exchange. The parting provides closure to the interview and may be just as important as the greeting. Explain how this may be done. Provide the students with a list of questions frequently asked by employers or ask students to make a list. Students may role play the stages of the interview. 115

122 Learning Objectives 56.7 To discuss the post interview To develop a procedural guide for the work site To relate feedback from the work placement. After the student has completed the interview with the employer, do a follow-up activity. Review the interview with the student using the three stages above as points for discussion. Discuss the following work site items with students: transportation hours of work absence and tardiness procedures for conflict resolution role of the student, teacher and workplace supervisor dress code job description school and employer expectations. Students provide feedback about work placement including: location, type of business, duties, most rewarding experience, most difficult situation and how they handled it. It is recommended that each student send a thank you note or card to the employer upon the completion of each work placement. If more than one placement has been made in the course, follow-up activities must be completed after each placement. Ensure that students understand these guidelines by asking students to describe each of these items. Look for opportunities to introduce and reinforce ideas about Labour Standards, Occupational Health and Safety including WHMIS. Use the Career and Work Exploration Curriculum Guide, the Practical and Applied Arts Handbook, and other resources recommended in the accompanying bibliography. 116

123 Module 57A, B, C, D, E: Work Study (Optional) Suggested time: hours Prerequisite: Module 56 Level: Introductory/Advanced Module Overview Students will be placed in the community working with a mentor and/or a supervisor. They may have the opportunity to learn to use software, to practise previously learned skills and to learn skills not being taught at their school. Students will be engaged in experiential activities in the workplace. Foundational Objectives To provide students with experience in the photography and graphic arts industries that will enable them to make informed career decisions. To foster employability skills related to the photography and graphic arts industries. To integrate classroom learning with work-based learning. Common Essential Learnings Foundational Objectives To engage in a work study experience and develop entry level workplace skills that may lead to sustainable employment. (PSVS) To expand career research beyond the classroom setting. (IL) For more information about implementing work study in schools, see the Work Study Guidelines for the Practical and Applied Arts included in the Practical and Applied Arts Handbook. Teachers need to use or design appropriate learning objectives for this module; for instance, to demonstrate ability to follow a Training Plan. The training plan for the student should be designed to relate to the objectives of the course modules chosen in collaboration with the cooperating employer. 117

124 Module 99A, B, C, D, E: Extended Study (Optional) Note: The extended study module may be used only once for each 100 hour single credit course. It is important to record the title of the extended study module on the recordkeeping chart. Record 99A for the first extended study module offered in the course series and 99B for the second extended study module and 99C for the third time the module is offered. Suggested time: 5-20 hours Level: Introductory/Intermediate/Advanced Module Overview Evolving societal and personal needs of society, advances in technology and demands to solve current problems require a flexible curriculum that can accommodate new ways and means to support learning in the future. The extended study module is designed to provide schools with an opportunity to meet current and future demands that are not addressed in current modules in the renewed PAA curriculum. The flexibility of this module allows a school/school division to design one new module per credit to complement or extend the study of pure, core and optional modules configured to meet the specific needs of students or the community. The extended study module is designed to extend the content of the pure courses and to offer survey course modules beyond the scope of the available selection of PAA modules. The list of possibilities for topics of study or projects for the extended study module approach is as varied as the imagination of those involved in using the module. These optional extended study module guidelines should be used to strengthen the knowledge, skills and processes advocated in the Practical and Applied Arts curriculum. For more information on the guidelines for the Extended Study module see the Practical and Applied Arts Handbook. 118

125 References Broekhuizen, R. J. (1995). Graphic communications, 4 th ed. Glencoe/McGraw-Hill. Curtin, D.P. (1991). Into your darkroom step by step. (Revised Ed.). Amherst, NY: Amherst Media. Horenstein, H. (1983). Black and white photography, a basic manual. (2 nd Ed. Revised). Boston, MA: Little, Brown and Company. (Currently out of print the 3 rd ed. has no Canadian rights.) Johnson, Charles D. (1992). Communications systems. Goodheart-Wilcox Co., Inc. Langford, M. (1997). Basic photography. (6 th Ed.). Oxford, England: Focal Press. (A 7 th ed. is now available.) Prust, Z.A. (1999). Graphic communications: The printed image. Goodheart-Wilcox Company, Inc. Sadun, E. (2000). Digital photography. I didn t know you could do that. Alameda, CA: Sybex, Inc. Saskatchewan Education. (Draft 2001). Practical and applied arts handbook. Regina SK: Author. Saskatchewan Education. (2000). Communications production technology 10, 20, 30 curriculum guide. A practical and applied art. Regina, SK: Author. Saskatchewan Education. (2000). Drafting and computer-aided design, 10, 20, 30 curriculum guide. A practical and applied art. Regina SK: Author. Saskatchewan Education. (2000). Learning resource materials update Regina SK: Author. Saskatchewan Education. (1998). Communication studies 20, curriculum guide. Regina, SK: Author. Saskatchewan Education. (1998). Journalism studies 20, curriculum guide. Regina, SK: Author. Saskatchewan Education. (1998). Media studies 20, curriculum guide. Regina, SK: Author. Saskatchewan Education. (1992). The adaptive dimension in core curriculum. Regina, SK: Author. Saskatchewan Education. (1992). Business education a curriculum guide for the secondary level accounting 10, 20, 30. Regina SK: Author. Saskatchewan Education. (1991). Instructional approaches: A framework for professional practice. Regina, SK: Author. Saskatchewan Education. (1991). Student evaluation: A teacher handbook. Regina, SK: Author. Saskatchewan Education. (1989). Work experience education guidelines. Regina, SK: Author. Saskatchewan Education. (1988). Understanding the common essential learnings: A handbook for teachers. Regina, SK: Author. Saskatchewan Institute of Applied Science and Technology. (1998). Helping solve the employment puzzle: A toolbox for middle and secondary levels. Prince Albert, SK. Author. Saskatchewan Learning. (2002). Career and work exploration10, 20, A30, B30 curriculum guide. A practical and applied art. Regina SK: Author. Saskatoon S.D. #13. (1994). Graphic arts 13L, 23L and 33L. Saskatoon, SK: Author. 119

126 Warren, B. (1993). Photography. Albany, NY: Delmar Publishers. (A 2 nd ed. is now available.) Note: A complete list of resources providing annotations and ordering information is available in the bibliography. 120

127 Appendix A: Articulation Articulation discussions have been initiated between Saskatchewan Learning and Saskatchewan Institute of Applied Science and Technology (SIAST) for an agreement to articulate Practical and Applied Arts currricula with SIAST non-apprenticeable programs. Prior Learning Assessment (PLA) will be used to evaluate knowledge and skills of students. Discussions are underway to articulate an agreement for the Photographics 10, Photography, 20, 30 and Graphic Arts 20, 30 Curriculum Guide with courses offered at SIAST. Common course content between the K-12 curriculum guidelines and SIAST courses will be identified in order to establish articulation agreements. Details regarding these discussions have not been finalized at this time and will be released at a later date. More information on the Pathway for Articulation of the Non-Trade course areas will be found in the Practical and Applied Arts Handbook. Students planning to enter the Applied Photography program at SIAST will be required to submit a portfolio of ten to twenty images that are representative of the type and quality of the photography they create. Applicants can also include other art forms such as painting and drawing. Motivation is a primary factor ahead of image quality. An essay of one to three pages in length outlining their goals (long and short term), aspirations and expectations is also expected of students as part of the program entrance requirements. Students planning to enter the Media Arts Production or the New Media Communications programs are encouraged to submit a presentation portfolio of their work. 121

128 Appendix B: Sample Module Recordkeeping Charts Photographics 10 Student Name: Student Number: Module Code PHGA01 PHGA02 PHGA03 PHGA04 PHGA05A PHGA06 PHGA07 PHGA09 PHGA11 PHGA12 PHGA17 DRAF03 PHGA35 PHGA36 PHGA37 PHGA56A PHGA57A PHGA99A Module Hours Date Teacher Initial Module 1: Introduction to Photography and Graphic Arts (Core) Module 2: Fundamental Camera Controls (Core) Module 3: Types of Cameras (Core) Module 4: Black and White Photographic Films (Core) Module 5A: Safety (Core) Module 6: Black and White Film Development and Chemistry (Core) Module 7: Controlling Composition and Exposure (Core) Module 9: Introduction to Digital Photography (Optional) Module 11: Producing a Black and White Print (Core) Module 12: Careers Development Opportunities (Core) Module 17: Digital Manipulation (Optional) Module 3: Freehand Sketching and Drawing (Optional) Module 35: Introduction to Graphic Design (Core) Module 36: Introductory to Graphic Mechanical Layout (Optional) Module 37: Computer-Aided Graphic Design (Optional) Module 56A: Work Study Preparation and Follow-up Activities (Optional) Module 57A: Work Study (Optional) Module 99A: Extended Study (Optional) Note: When the Extended Study, or Work Study Preparation and Follow-up Activities, and Work Study modules are studied for the first time, record the module number and the letter A (Extended Study Module 99A). If the module is repeated at another level, the module is recorded using the letter B (Extended Study Module 99B). It is recommended that this document be printed on school letterhead. 122

129 Sample Module Recordkeeping Charts Photography 20 Student Name: Student Number: Module Code PHGA05B PHGA08 PHGA10 PHGA13 PHGA14 PHGA15 PHGA16 PHGA18 PHGA19 PHGA21 PHGA24 PHGA32 PHGA56B PHGA57B PHGA99B Module Hours Date Teacher Initial Module 5B: Safety (Core) Module 8: Camera Lenses and Related Accessories (Core) Module 10: Printing Papers: Black and White and Colour (Core) Module 13: Artificial Lighting Electronic Flash (Core) Module 14: Additional Black and White Printing Techniques (Core) Module 15: Colour Photographic Films (Core) Module 16: Intermediate Digital Photography Module 18: Critiquing Photographs (Core) Module 19: Professional Portfolios (Core) Module 21: Colour Film Development Reversal Processing (Core) Module 24: Photojournalism (Optional) Module 32: Retouching and Hand Colouring (Optional) Module 56B: Work Study Preparation and Follow-up Activities (Optional) Module 57B: Work Study (Optional) Module 99B: Extended Study (Optional) Note: When the Extended Study, or Work Study Preparation and Follow-up Activities, and Work Study modules are studied for the first time, record the module number and the letter A (Extended Study Module 99A). If the module is repeated at another level, the module is recorded using the letter B (Extended Study Module 99B). It is recommended that this document be printed on school letterhead. 123

130 Sample Module Recordkeeping Chart Photography 30 Student Name: Student Number: Module Code PHGA05C PHGA20 PHGA22 PHGA23 PHGA25 PHGA26 PHGA27 PHGA28 PHGA29 PHGA30 PHGA31 PHGA33 PHGA56C PHGA57C PHGA99C Module Hours Date Teacher Initial Module 5C: Safety (Core) Module 20: Colour Film Development Negatives (Optional) Module 22: Darkroom: Colour Printing Techniques (Optional) Module 23: Commercial Photography (Core) Module 25: Studio Lighting (Optional) Module 26: Photography and Advertising (Optional) Module 27: Portraiture (Core) Module 28: Advanced Digital Photography (Optional) Module 29: Advanced Digital Manipulation (Optional) Module 30: Mounting, Matting and Framing (Optional) Module 31: History of Photography (Optional) Module 33: Taking Care of the Business (Optional) Module 56C: Work Study Preparation and Follow-up Activities (Optional) Module 57C: Work Study (Optional) Module 99C: Extended Study (Optional) Note: When the Extended Study, or Work Study Preparation and Follow-up Activities, and Work Study modules are studied for the first time, record the module number and the letter A (Extended Study Module 99A). If the module is repeated at another level, the module is recorded using the letter B (Extended Study Module 99B). It is recommended that this document be printed on school letterhead. 124

131 Sample Module Recordkeeping Chart Graphic Arts 20 Student Name: Student Number: Module Code PHGA05B PHGA34 PHGA38 PHGA39 PHGA40 PHGA41 PHGA42 PHGA43 PHGA44 PHGA45 PHGA46 PHGA47 PHGA56D PHGA57D PHGA99D Module Hours Date Teacher Initial Module 5B: Safety (Core) Module 34: History of Printing (Optional) Module 38: Packaging (Core) Module 39: Scanning and Design (Core) Module 40: Introduction to Airbrushing (Core) Module 41: Colour Use by Designers (Optional) Module 42: Outdoor Advertising (Core) Module 43: Introductory Screen Press Printing (Core) Module 44: Intermediate Screen Press Printing (Optional) Module 45: Intermediate Airbrush, Beyond the Basics (Optional) Module 46: Portraits that Flatter (Optional) Module 47: Be an Art Director (Optional) Module 56D: Work Study Preparation and Follow-up Activities (Optional) Module 57D: Work Study (Optional) Module 99D: Extended Study (Optional): Note: When the Extended Study, or Work Study Preparation and Follow-up Activities, and Work Study modules are studied for the first time, record the module number and the letter A (Extended Study Module 99A). If the module is repeated at another level, the module is recorded using the letter B (Extended Study Module 99B). It is recommended that this document be printed on school letterhead. 125

132 Sample Module Recordkeeping Chart Graphic Arts 30 Student Name: Student Number: Module Code PHGA05C PHGA48 PHGA49 PHGA50 PHGA51 PHGA52 PHGA53 PHGA54 PHGA55 CPTE12 PHGA56E PHGA57E PHGA99E Module Hours Date Teacher Initial Module 5C: Safety (Core) Module 48: Complex Layout (Optional) Module 49: Business Promotion Package (Core) Module 50: Cover Design (Core) Module 51: Scanning and Colour Correction (Optional) Module 52: Magazine Advertising (Optional) Module 53: Advanced Airbrush Skills (Optional) Module 54: Cartooning (Optional) Module 55: Advanced Screen Process Printing (Optional) Module 12: Animation (Optional) Module 56E: Work Study Preparation and Follow-up Activities (Optional) Module 57E: Work Study (Optional) Module 99E: Extended Study (Optional) Note: When the Extended Study, or Work Study Preparation and Follow-up Activities, and Work Study modules are studied for the first time, record the module number and the letter A (Extended Study Module 99A). If the module is repeated at another level, the module is recorded using the letter B (Extended Study Module 99B). It is recommended that this document be printed on school letterhead. 126

133 Appendix C: Career Research Interview Questions Adapted from Business Education A Curriculum Guide for the Secondary Level Accounting 10, 20, 30 (Saskatchewan Education 1992). Interview someone who currently works in this career. The assignment may be completed independently, in pairs, in small groups, or by whichever method is chosen by the student(s) and teacher. The teacher should encourage students to use a variety of resources to gather information about the career that they are researching. The student may use resources listed in the bibliography, letters, the Internet, phone or a personal interview to gather information. After the students have discussed different career paths, students may prepare a short journal writing explaining why they are interested in the career area they are about to investigate. Students may proceed to develop a list of questions to collect the information they require to help them understand more about the career area they have chosen. The following list of questions may be included in the students' interview project. 1. What is the title of your job? 2. What are your normal duties on the job? 3. What are some of the things that you enjoy about your job? 4. Are there any things about your job that you dislike? What are those things? 5. Does your company have a dress code for employees? What is considered suitable? 6. How often is working overtime required in your job? 7. Do you have to work nights or weekends? 8. What aptitudes and abilities are needed to succeed in your career? 9. What are the post-secondary education and training requirements to enter and advance in your career? 10. Can you give an approximate starting salary for someone just starting out in your occupation? How much does the average person earn after five years? After ten years? What types of employee benefits, such as sick leave or dental plans, do workers in your career usually receive? 11. Do you think the demand for workers in your career will increase or decrease over the next five years? Why? 12. What changes have you seen over the past 5-10 years in this career? 13. What are the advantages and disadvantages of entering and being in your career? 14. Is there any advice you would give to a young person just making a career choice? After the interview session, students may summarize the information they received and draw a conclusion as to whether they would like to learn more about this career. They may also determine whether they would like to join that organization based on their experience. 127

134 Appendix D: Sample Critique Form Photography Critique Form Photographer s Name Critic s Initial Assignment Topic Score each of the following elements with a value between 1 and 10 (10 being the highest possible). Composition (rule of thirds, position of the main subject) (10) Contrast Range (black, gray and white tones are present) (10) Subject Selection (does the subject meet the assignment criteria?) (10) Technical Presentation (free of fingerprints, dust, scratches, water spots, even borders etc.) (10) Special Effects (toning, retouching, hand colouring, solarization, etc.) (10) Overall Impression (does the photograph appeal to you?) (10) Total (60) Comments: (first; the things you like about the photograph followed by one or two points regarding ideas to try to make the photograph better). 128

135 Appendix E: Troubleshooting Portraits The following chart identifies some of the situations that may occur when doing portrait photography and makes suggestions to minimize these characteristics. Characteristic Suggested Solution Prominent forehead or receding Tilt the chin upward hairline. Lower the camera position Long nose Narrow chin Baldness Angular nose Broad face Narrow face Wrinkled skin Double chin Facial imperfections Prominent ears Glasses Deep-set eyes Protruding eyes Heavy-set subject Tilt the chin upward Face directly toward the lens Lower the main light source Lower the camera position Tilt the chin upward Lower the camera position Soften or remove hair light Blend the top of the head with the background tones Diffuse the light Minimize the effect by turning the face toward the camera Raise the camera position Turn the face to the three quarter position Use short lighting Lower the main light source Use broad lighting Use diffused lighting Lower the main light Turn the face to the three quarter position Raise the main light Tilt the chin upward Use a high camera position relative to the subject Select the subject s best side as the highlighted side Turn the head to move the far side ear behind the head Keep the nearer ear in shadow Consider a profile view to place the camera toward the ear Have the subject raise or lower the chin slightly Adjust the fill light laterally to avoid strong catch light on the lenses. Use a small light source and correct the negative or retouch the final print. Lower the main light to fill under eyebrows Have the subject look downward Use short lighting Blend the body with the background tones When the print is composed vignette the shoulders and the body. 129

136 Appendix F: Preparing Water Based Screen Inks The following process was developed by Nik Semenoff, Saskatoon, and is used with permission. The process allows for quick print drying and easy cleanup, ideal for school use. Preparation Procedure Ingredients Dynamic #210 Heavy Duty Wallcovering Adhesive Scola Cell cellulose adhesive (methyl cellulose) Industrial Tinting Colours (ethylene glycol base) Preparation of Ingredients Methyl Cellulose Solution This will need to be premixed. Dissolve ½ package of Scola Cell Cellulose adhesive in four litres of cold water and allow the solution to sit for 24 hours. The result should be a solution with the consistency of heavy pancake syrup. If the mixture is too thick, thin with cold water. Wall Covering Adhesive Solution In a plastic container add 50g of Scola to 500g of the wall covering adhesive. Make small batches of the paste mixture to insure that the product is fresh and produces a better tackiness. Tinting Colour Purchase one litre cans of tinting colour used by paint stores to colour house paint. Although the tints are expensive they will last a long time as only small quantities are used. Small quantities of tinting colour can be kept in plastic squeeze bottles and used one drop at a time. Ethylene glycol based colours can be used with both water-based and oil-based colours. Mixing of Ingredients to Create Screen Ink The proportions are approximate and may be adjusted to achieve the consistency desired. Add one part methyl cellulose solution to nine parts wall covering adhesive solution. The methyl cellulose solution attenuates the tackiness of the ink base and controls flow. If the ink is too tacky add methyl cellulose solution; if it is too runny add wall covering adhesive solution. Add tinting colour to achieve desired hue. Very little colour is required for transparent hues. Start with very little and add drops until the desired colour is achieved. The tinting colours will produce transparent colours, if a more opaque shade is needed add white or black to the tinting base. Printing Print as you would with other inks. These inks dry very fast so you need to backfill the mesh each time. If the mesh blocks up, scrub the blocked areas with a squeegee or a fingertip until the blocked area opens and the stencil prints cleanly. Clean-up Use cool water and a hand spray to clean-up. Even dried ink will dissolve and flush out of the screen mesh. 130