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The AusVELS standard which will beincorporated as part of the learning opportunity comes from level 4 as part ofthe ‘exploring and responding’ strand, and is ‘students use art language todescribe and discuss the communication of ideas, feelings and purpose in otherpeople’s arts works’ (VCAA, 2012).

Window Template | Drawing Sheets (teacher made) - Twinkl FREE! - Window Template | Drawing Sheets (teacher made) - Twinkl

In a sense, listening to information like that is something that everyone, I think, feels disturbed by, but it’s easy to think, ‘I don’t play a part in this.

The work is quite two-dimensional but I play with the little real depth the work has and a strong illusion of perspective is created. Using plants was a problem at first but I have learnt how to preserve them so they last and I add permanent colour. Experienced readers can find reading wordless texts challenging so make your thoughts audible by thinking aloud. This is the almost wordless story of a boy growing up in the country that becomes a much more populated area, has a baby of his own, back in another area that’s undeveloped, yet with development slated to soon start. But I also hope they’ll have an understanding of the way everything is related, how once you destroy the native vegetation of a place, the native birds aren’t going to come there anymore, the native animals aren’t going to come there anymore, even the insects.

Windows | PDF - SlideShare Windows | PDF - SlideShare

The required resources are: Mirror by Jeannie Baker, art book, pencils, glue, whiteboard, whiteboard marker, coloured photocopies ofpages from Mirror, the collage of the dream view created in theprevious lesson: one between each pair, required activities to complete(checklist). Stephen's articulates three ideological perspectives which are the most common approaches to dealing with ecological issues in children's literature; the positioning of human subjectivity as outside of nature; the assumption that 'a represented landscape must include humans to perceive it and operate as a site of some kind of narrative'; and the representation of nature as 'endangered' and reliant upon human intervention and appropriate management (41).I aim to communicate to people through different layers of meaning in my work, the most obvious of which young children can understand and the more subtle, older readers.

The iconic wordless picture book, Window by Jeannie Baker, is The iconic wordless picture book, Window by Jeannie Baker, is

One person said to me it was about how the average male is conditioned to dominate and control the world! A lovely book that explores what happens to the world as it undergoes change in transport, energy and population without the use of words. The resource guide contains two articles: 'In the Dreamtime : Attitudes to Land in Aboriginal Australia' by Christopher John Kirkbright and 'Learning the Country : The Impact of Europeans' by John Vandenbeld.The story starts with a mother and baby looking at a countryside close to utopia, mountains and trees, nothing else.

Technique – Jeannie Baker Technique – Jeannie Baker

This wordless picturebook has a powerful (and quite depressing) message, as summarized in the author's note at the end of the book: "We are changing the face of our world at an alarming and an increasing pace. Belonging explores the re-greening of the city: the role of community, the empowerment of people and the significance of children, family and neighbourhood in changing their urban environment. Reading short units of text cumulatively readers consider what individual words mean and how meanings shift and are firmed up as more information is provided. The book ends with the boy, who is now grown up with his own child, stood at a new window with the view resembling the one at the very start of the book (and at the start of his childhood).I think this book had a major impact upon the children, emphasising the importance of protecting our rainforests and the impact of urbanisation. Each of the thirteen double-page spreads shows the window frame and the view outside the window – the reader is always standing inside, looking out.