Arts and Crafts Third Cycle

ARTS AND CRAFTS
(PROJECT LOOK AND THINK)
PRIMARY EDUCATION
THIRD CYCLE
Arts and Crafts. Third cycle (Primary Education)
TABLE OF CONTENTS
INTRODUCTION 2
MATERIALS FOR THE OXFORD EDUCACIÓN PROJECT 3

The pupil’s book 3
The teacher’s book 4
How to deliver a teaching unit 4
OBJECTIVES, EVALUATION CRITERIA 6

Objectives 6
Evaluation criteria 7
BASIC COMPETENCES 8
THIRD CYCLE PROGRAMMES 15

Fifth grade unit programmes 16
Unit 1. Look around you 16
Unit 2. So many colours 20
Unit 3. Textures and shapes 24
Workshop 1. Good enough to eat! 28
Unit 4. Light and shade 32
Unit 5. Careful with the proportions! 36
Unit 6. Discovering perspective 40
Workshop 2. The neighbourhood at night 44
Unit 7. We can draw ideas 48
Unit 8. Discovering art 52
Unit 9. Beautiful drawings 56
Workshop 3. Clouds of art 60
Sixth grade unit programmes 64

Unit 1. Learning how to see 64
Unit 2. Colour range 68
Unit 3. Simple and complex shapes 72
Workshop 1. A colourful window 76
Unit 4. Light and volume 79
Unit 5. The way we see things 83
Unit 6. Set squares 87
Workshop 2. Let´s build a castle 91
Unit 7. Artistic messages 95
Unit 8. The art of the ordinary 99
Unit 9. Art and communication 103
Workshop 3. We are sculptors 107
1
Project Look and Think (Oxford Educación)
INTRODUCTION
Education in Art, which covers both Music and Arts and Crafts, introduces children to a
system of specific forms (pictures and sounds) that they can then use to express
themselves with and to represent what they see and hear around them. Together with
language, these forms constitute the symbolic universe in which all human life exists. In
fact, the modern world is so full of messages and images, transmitted by so many
means of communication, that children are constantly bombarded with information.
This makes it difficult for them to sift through it all and select the correct messages.
The objective of Education in Art is to develop in children the ability to express

themselves, to communicate through artistic and visual languages, and thereby to
provide them with communicative competence in a medium which is complementary to
speech, writing, body language, etc. They must be given the means and the necessary
strategies for understanding and interpreting messages in this language. This will make
it possible for them to analyze these messages critically.
The connection between Education in Art and other areas of the syllabus is clearly
discernible from the many ways in which children use the competencies that they learn
in the areas of visual art and music. Concentration, reflection, creativity, the ability to
experiment with materials, to work in a group, and in general to value artistic and
cultural works are all skills that are essential to learning itself. Education in Art
contributes to the attainment of the objectives of Primary Education by, among other
things, encouraging children’s visual and auditory perception (an essential element for
any learning to take place).
The Oxford Educación Project for the Third Cycle of Primary Education aims to develop
children’s means of expression, so that they can acquire communicative competence in
different areas. In order to achieve this, two specific areas are focussed upon:
comprehension and expression. Comprehension – developing children’s ability to
understand and interpret what they see and hear around them – involves a systematic
and purposeful observation of natural and artistic features from their surroundings. In
this way, children develop their capacity to ‘read’ the signs around them and enhance
their ability to express themselves using the language of art. They also develop: the
ability to concentrate and use their imaginations; their creative skills; their ability to
appreciate what others have done; their artistic and aesthetic sensitivity; and their
ability to take pleasure in art.
Pupils need to develop proficiency in both interpreting art and using different artistic
techniques. But it is also important that they work out their own code to use for
expressing themselves. This code will be different for each pupil, and it will also be
influenced by the social and cultural context of their school.
The final objective is to deepen children’s aesthetic awareness. Throughout the course,
they will be exposed to a wide range of art forms, tools and techniques, which will help
to develop their interest in art and their artistic tastes. They will have a series of
enriching encounters with art in its many different forms, including music, song, dance,
painting, sculpture, architecture and photography. They will also be introduced to
artefacts, traditions and folklore from the cultural heritage of their own and other
countries.
2
MATERIALS FOR THE OXFORD EDUCACIÓN PROJECT

THE PUPIL’S BOOK
The Pupil’s Book is composed of nine units, that is, three per term.
At the end of each term, there is a workshop, which is an extended activity

requiring the participation and involvement of the group as a whole.
Overview of Pupil’s Book features
A motivating introduction
The book begins with a brief introductory description in which pupils meet
their mascot for the whole school year.
The core units

Each unit of the Pupil’s Book units consists of nine worksheets. The first
five worksheets cover the content systematically, through a series of graded
activities. The sixth worksheet takes well-known works of art as a starting
point for the activity it presents. The seventh and eighth worksheets are
dedicated to presenting a particular artistic style or movement which has
had a significant influence on the course of art history. The ninth worksheet
uses a variety of different materials (e.g. scissors, glue, paint, wax crayons,
etc.) and sometimes involves cutting out and making models or other
artefacts. Some of the items made for particular worksheets are later used
in the end-of-term workshops.
The worksheets
Each worksheet includes an activity which covers the prescribed subject
content as set out in the curriculum.
A motivating title introduces the activity, and brief, clear and direct
instructions are given.
The mascot for the year presents the materials that pupils will need to use
to complete the activity.
The subject content covered is listed at the bottom of the page for the
teacher’s reference.
The workshops
The workshops for each term are extended activities that are original and
motivating. They are activities that require whole-class participation and
group work, and help children to develop the ability to work together
harmoniously and effectively as a team. The works of art created in the
workshops will fill both the pupils themselves, and the wider school
community, with a sense of achievement and pride.
Some of the workshops build on activities that have already been completed
for earlier worksheets, using the pictures or objects that children made for
them. Others present entirely new projects which can be completed with the
teacher’s guidance, following the illustrated instructions provided in the
Pupil’s Book.
3
THE TEACHER’S BOOK
The Teacher’s Book contains teaching notes and suggestions for all of the
content covered in the Pupil’s Book; for the units and workshops, as well as for
the Reinforcement and Extension activities.
It is organised into nine units, three workshops and three appendices.
Each unit is divided into three sections:
 The programme and the basic competences covered in the unit.

 Teaching guidance for each of the worksheets: materials needed, key
vocabulary and suggestions for reinforcement and extension.
 An Assessment chart.
The end-of-term workshops are divided into the following sections:
 The objectives of the workshop.

 Teaching guidance for carrying out the project described.
Appendices 1 and 2 provide photocopiable Reinforcement and Extension

worksheets for each unit.
Appendix 3 includes a catalogue of works of art which feature on the sixth
worksheet of each unit of the Pupil’s Book, a full-page reproduction of each
work, and a biography of each of the artists.
THE RESOURCES CD
The Resources CD contains:
 Curriculum guidance and information

 Details of the Oxford Educación Project for the Third Cycle of Primary
Education (in English and Spanish).
 A translation of the Teacher’s Book into Spanish.
 Programmes of study (in MS Word) in English and Spanish.
 Photocopiable Reinforcement and Extension worksheets.
HOW TO DELIVER A TEACHING UNIT
The Teacher’s Book for Arts and Crafts is organised into nine units, three
workshops and three appendices.
Each unit is divided into three sections: Programme of study for the unit,
Teaching notes for each worksheet in the Pupil’s Book, and an Assessment
chart.
Programme of study for the unit
Each unit begins with a double-page spread which provides a scheme of work
for the unit, and gives an overview of the curriculum objectives covered in it.
 The unit PROGRAMME includes objectives, subject content (concepts,
procedures and attitudes) and evaluation criteria.
 The BASIC COMPETENCES table details the core skills covered in each of
the activities, and provides references to the corresponding evaluation
criteria.
4
Teaching notes for each worksheet in the Pupil’s Book
Each page of the Teacher’s Book contains a reproduction of the corresponding

page from the Pupil’s Book, with accompanying teaching notes and guidance.
 The Resources and materials needed to carry out the activities in the
Pupil’s Book.
 The core Vocabulary required to carry out the activity in English.
 A suggestion for an Introductory activity which will stimulate the pupils’
curiosity and introduces concepts required for the worksheet’s main
activity.
 Instructions for how to deliver the Main activity which is presented on
the worksheet.
 Suggestions for simple Reinforcement and Extension activities
building on the activities covered in the worksheet.
Assessment chart
An Assessment chart is provided at the end of each unit of the Teacher’s

Book. It includes:
 Space to write the names of each member of the class.

 The assessment criteria covered in the unit, making it easier for the
teacher to check that each child has achieved the unit objectives.
Appendices
At the end of the Teaching notes section, three appendices are provided:
Reinforcement worksheets and Extension worksheets to accompany each
unit, and Artists’ biographies.
 A high-resolution reproduction of the work of art presented on the sixth

worksheet of each unit.
 A biography of the artist and further information about the work of art.
 An indication of the corresponding unit for each activity.
 Clear and motivating instructions for the child.
5
OBJECTIVES, EVALUATION CRITERIA
OBJECTIVES
OBJECTIVES FOR THE AREA OF EDUCATION IN ART, AS SET OUT IN THE

OXFORD EDUCACIÓN PROJECT FOR THE THIRD CYCLE OF PRIMARY
EDUCATION
1. To analyse the artistic and expressive possibilities of natural features and of

geometric structures.
2. To develop a structured approach to the oral and written analysis of the
appearance, qualities and characteristics of the natural and artificial (human-
made) objects that surround us.
3. To explore the characteristics, elements, techniques and materials used in
works of art in order to be able to recreate them.
4. To recognise and appreciate different forms of artistic expression: painting,
sculpture and architecture.
5. To investigate and appreciate forms of art and crafts which are representative
of the cultural expression of different peoples and societies.
6. To appreciate artistic work as a means of personal communication and the
transmission of cultural values.
7. To value artistic cultural heritage and help to preserve it.
8. To produce artistic works collaboratively, taking on different roles in group work
and working together to solve any problems which arise, in order to achieve a
satisfactory end product.
9. To become familiar with some artistic professions, showing an interest in the
different characteristics of each one.
10. To analyse and appreciate the communicative purpose of images from different
media and information and communication technologies.
11. To analyse ways of representing three-dimensional objects on the different
planes of a picture, according to point of view or location within a given space.
12. To understand the importance of shapes and different types of line in the
composition of an artistic work.
13. To be able to apply complementary and opposite colours, and colour ranges, in
order to obtain a particular artistic effect.
14. To explore the changes that volume and space undergo due to the effect of
light.
15. To manipulate different materials and tools to produce artistic works.
16. To use textures in the depiction of objects and images.
17. To build structures and transform spaces drawing on basic notions of
perspective.
18. To design sets for theatrical performances.
19. To use information and communication technologies to gain knowledge, edit
images, and disseminate work.
20. To create documents typically related to the area of artistic communication,
such as posters, signs and guides.
6
EVALUATION CRITERIA
EVALUATION CRITERIA FOR THE AREA OF EDUCATION IN ART (ARTISTIC

EXPRESSION), AS SET OUT IN THE OXFORD EDUCACIÓN PROJECT FOR THE
THIRD CYCLE OF PRIMARY EDUCATION
1. To identify and describe some of the expressive and artistic qualities of the
natural and artificial (human-made) objects that surround us.
2. To distinguish shapes and lines in the composition of an artistic work.
3. To use different tools and materials correctly.
4. To create artistic works using mixed techniques.
5. To find, select and organise information about the artistic heritage of one’s own
culture and of other cultures.
6. To become familiar with the artistic work of designers and art-related
professionals.
7. To create one’s own artistic compositions by recreating aspects of artistic works
that one has studied.
8. To use artistic representations as a vehicle for expressing ideas and feelings.
9. To formulate opinions about the artistic works to which one is exposed,
demonstrating one’s knowledge of them.
10. To create artistic representations collaboratively, organising space, using
different materials, and employing various techniques.
11. To test the possibilities of different materials, textures, shapes and colours
when applied to different surfaces.
12. To represent ideas, actions and situations in a personal way, exploiting the
resources offered by artistic and visual language.
13. To use a variety of information and communication technologies in an
appropriate way to produce simple artistic creations.
14. To be able to employ creative strategies when producing an artistic work.
15. To develop self-confidence in one’s own artistic productions, respecting one’s
own work and that of others, and being able to receive and express criticism
and opinions.
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BASIC COMPETENCES
In recent years, several EU countries, including Spain, have worked together with the
goal of identifying basic and key learning principles.
The EU defines the term basic or key competence as “a combination of skills,

knowledge and attitudes which are adequate to the context. Basic competences are
those which everyone needs for personal performance and development, as well as
for active citizenship, social inclusion and employment.”
The Spanish curriculum, adapted to the specific circumstances and characteristics of

our educational system, identifies and includes eight basic competences:
1. Competence in linguistic communication.
2. Mathematical competence.
3. Competence in knowledge and interaction with the physical world.
4. Processing information and digital competence.
5. Social competence and citizenship.
6. Cultural and artistic competence.
7. Competence in learning how to learn.
8. Competence in autonomy and personal initiative.
The aim of incorporating these competences into the educational curriculum is to focus
learning. As a result, students integrate such learning, relate different types of
contents, use learning effectively when necessary, and apply it in different situations
and contexts.
The basic competences are not considered minimum common learning. In fact, there
are wider learning proposals which should focus instruction on identifying essential
contents and assessment criteria.
The basic competences do not replace the elements presently included in the
curriculum: area or subject objectives, contents, methodology and assessment criteria.
However, they complement these elements by proposing an integrative focus oriented
toward the application of acquired learning.
Based on this objective, it can be inferred that the competences are not mastered
through a unique curriculum area or subject. Each of the areas contributes to the
development of different competences and, in turn, each of the basic competences is
achieved as a result of working in several areas and subjects.
The selection of different types of contents —concepts, procedures and attitudes—

should ensure the presence of the contents directly related to the acquisition of the
basic competences, or with certain aspects of such competences, but should not be
limited to them. At the same time, the selection should include other contents that
allow achieving each and every one of the area or subject objectives.
The assessment criteria should serve as the main reference to identify the
developmental level of the abilities included in the area or subject matter, as well as
the acquisition level of the basic competences.
Measuring competences is a good indicator of the quality of the education system. In

these terms, the Ley Orgánica de Educación 2/2006, of May 3 establishes that at the
end of the second cycle of Primary Education and at the end of the second course of
Mandatory Secondary Education, all the public funded schools will perform a
8
diagnostic assessment of the basic competences reached by the student body. It also
establishes that the educational administration will be responsible for such
assessment, which will be aimed at training and orientation for schools and at
informing families and the educational community as a whole.
Basic competences and subcompetences
Previously we have indicated which are the basic competences that make up our
educational system, competences that by their own formulation are, inevitably, quite
generic. If we want them to serve as a reference for educational activity and to
demonstrate the real competence achieved by the student (in evaluation, for example),
we have to clarify them far more, breaking them down, always in relation with other
elements from the curriculum. In what we call subcompetences, which are not intended
to be more than types of operating statements that are the consequence of the
integrated analysis of the curriculum in order to achieve some functional learning,
expressed in a fashion that allows for their identification by way of different educational
agents.
In this area and fifth grade, these subcompetences and the units in which they are
applied are the following:
BASIC COMPETENCES / UNITS

SUBCOMPETENCES
Competence in linguistic 1, 2, 3, W1, 4, 5, 6, W2, 7, 8, 9, W3

communication
Communicate simple messages, verbally and 3, W1, 4, 5, W2, 8, W3
in writing.
Speak, listen and participate in dialogue and 6, 7, 9,
debate in an organised and clear manner.
Apply language usage rules, as well as W2, W3
linguistic and non-linguistic skills, when
communicating.
Communicate thoughts, emotions, life 2, 4, 5, 8,
experiences, opinions, ideas, and ethical and
critical judgements in a coherent way.
Use specific vocabulary from each subject 1, 2, 3, W1, 4, 5, 6, W2, 7, 8, 9, W3
area to enrich one’s language.
Apply the actions that define linguistic 1, 3
communication (listening, speaking, reading
and writing) to specific purposes.
Process information from oral and written 6, 9
sources.
Find information in different media (print and 7
digital) and use it in projects related to
different subject areas
Communicate at a progressive competence 1, 2, 3, W1, 4, 5, 6, W2, 7, 8, 9, W3
level in a foreign language.
Mathematic competence 1, 2, 3,W1, 4, 5, 6, W2, 7, 8, 9

Identify and organise objects according to
1, 3, W1, 6, W2
particular spatial criteria.
Manipulate basic mathematical elements, 1, 3, 6, 7, 8
such as different types of numbers,
measurements, symbols, geometrical
elements, etc., in authentic situations and in
9
simulations of daily life.
10
Apply mathematical information to different 2, 4, 5, 9,

situations and contexts.
Competence in knowledge and 1, 5, 6, W2

interaction with the physical world
Develop the ability to interact with the 1, 5, 6, W2
surroundings and to solve problems relating to
objects and their locations.
Processing information and digital 1, 3, W1, 4, 6, 7, 9

competence
Understand and make use of basic linguistic 1, W1, 4, 9,
and contextual information (textual, numerical,
pictorial, visual, graphic and audible), and
apply language rules and structures in
decoding and transferring it.
Organise, relate, analyse and synthesise 7,
information in order to understand its meaning
and integrate it into patterns based on prior
knowledge.
Communicate acquired knowledge using
6,
different types of language and different
techniques, as well as making use of the
possibilities that information and
communication technologies (ICT) offer.
Use information and communication
3
technologies to generate and transmit
information, taking into account the
previously-established aims and objectives of
learning, work and leisure activities.
Social competence and citizenship 1, 2, W1, 5, W2, 9, W3

Participate actively and responsibly in group- 1, 2, W1, 5, W2, 9, W3
learning activities, respecting the operating
rules of the group.
Cultural and artistic competence 1, 2, 3, W1, 4, 5, 6, W2, 7, 8, 9, W3

Develop an open and critical attitude that 1, 3, W1, 7, 8
respects the diversity of forms of artistic
expression, as well as sensitivity and
aesthetic sensibility, in order to understand,
value and enjoy different types of art.
Demonstrate the desire and will to develop 1, 2, 3, W1, 4, 5, 6, W2, 8, 9, W3
aesthetic and creative skills, and demonstrate
initiative, imagination and creativity in order to
express oneself using artistic codes.
Gain knowledge of the main techniques, 2, 3, W1, 4, 5, 6, W2, 7, 8, 9, W3
resources and conventions of different artistic
languages, as well as of the most significant
works and expressive forms from our cultural
heritage.
11
Competence in learning how to learn 1, 2, 3, W1, 4, 5, 6, W2, 7, 8, 9, W3

Recognise one’s own strengths and 2, 5, 9
weaknesses. Benefit from strengths and
overcome weaknesses through motivation
and will, building on an expectation of
success.
Develop skills for obtaining information and 3, 7
assimilating it as personal knowledge, making
links between, and integrating new
information with, prior knowledge and
personal experience.
Apply new knowledge and skills in similar 2, 4, 5, 6
situations and in different contexts.
Manage effort, self-assess and accept 1
mistakes.
Learn from others and with others. W1, W2, W3
Value learning as a source of personal and 8
social enrichment and understand that it
deserves the effort that it requires.
Recognise one’s own competence, in order to W1, W2, W3
generate a sense of motivation, self-
confidence and the joy of learning.
Competence in autonomy and 2, 3, W1, 4, 5, 6, W2, 7, 8, 9, W3

personal initiative
Assess what has been done and self-assess, 2, 3, 4, 5, 6, 8,
draw conclusions and evaluate possibilities for
improvement.
Demonstrate assertiveness and flexibility, as W1, W2, 7, 9, W3
well as social skills, in relating to others,
cooperating and working in groups: empathise
with others, value others’ ideas, communicate
and negotiate.
W: Workshop
In this area and sixth grade, these subcompetences and the units in which they are
applied are the following:
BASIC COMPETENCES / UNITS

SUBCOMPETENCES
Competence in linguistic 1, 2, 3, W1, 4, 5, 6, W2, 7, 8, 9, W3

communication
Communicate simple messages, verbally and 3, W1, 4, W2
in writing.
Speak, listen and participate in dialogue and 6, 7, 9
debate in an organised and clear manner.
Communicate thoughts, emotions, life 2, 4, 5
experiences, opinions, ideas, and ethical and
critical judgements in a coherent way.
Use specific vocabulary from each subject 1, 2, 3, W1, 4, 5, 6, W2, 7, 8, 9, W3
area to enrich one’s language.
12
Apply the actions that define linguistic 1, 3, 8

communication (listening, speaking, reading
and writing) to specific purposes.
Communicate and enter into dialogue with W3
those around one, with the aim of establishing
links and building constructive relationships.
Process information from oral and written 6, 9
sources.
Find information in different media (print and 7
digital) and use it in projects related to
different subject areas.
Communicate at a progressive competence 1, 2, 3, W1, 4, 5, 6, W2, 7, 8, 9, W3
level in a foreign language.
Mathematic competence 1, 2, 3, W1, 4, 5, 6, W2, 7, 8, 9, W3

Identify and organise objects according to 1, 3, W1, 6, W2, 7, 8, W3
particular spatial criteria.
Manipulate basic mathematical elements, 1, 3, 5, 6, 7, 8
such as different types of numbers,
measurements, symbols, geometrical
elements, etc., in authentic situations and in
Apply mathematical information to different 2, 4, 9
Competence in knowledge and 1, 5, W2, 9, W3

interaction with the physical world
Develop the ability to interact with the 1, 5, W2
surroundings and to solve problems relating to
Recognise the importance of the fact that all W3
human beings benefit from progress and that
progress should preserve natural resources
and diversity.
Demonstrate critical thinking in the 9
observation of reality, the analysis of
informational and advertising messages, and
the adoption of responsible consumer habits
in daily life.
Processing information and digital 1, 3, 4, 6, 7, 8, 9

competence
Understand and make use of basic linguistic 1, 4, 7
and contextual information (textual, numerical,
pictorial, visual, graphic and audible), and
apply language rules and structures in
decoding and transferring it.
Communicate acquired knowledge using 6, 7, 8, 9
different types of language and different
techniques, as well as making use of the
possibilities that information and
communication technologies (ICT) offer.
Use information and communication
3
technologies to generate and transmit
information, taking into account the
previously-established aims and objectives of
learning, work and leisure activities.
13
Social competence and citizenship 1, 2, W1, 6, W2, 7, 8, 9, W3

Participate actively and responsibly in group- 1, 2, W1, 6, W2, 7, 8, 9, W3
learning activities, respecting the operating
rules of the group.
Cultural and artistic competence 1, 2, 3, W1, 4, 5, 6, W2, 7, 8, 9, W3

Develop an open and critical attitude that 1, 3, 4, 5, W2
respects the diversity of forms of artistic
expression, as well as sensitivity and
aesthetic sensibility, in order to understand,
value and enjoy different types of art.
Demonstrate the desire and will to develop 1, 2, 3, W1, 4, 5, 6, 8, 9, W3
aesthetic and creative skills, and demonstrate
initiative, imagination and creativity in order to
express oneself using artistic codes.
Gain knowledge of the main techniques, 2, 3, W1, 5, 6, W2, 7, 8, 9
resources and conventions of different artistic
languages, as well as of the most significant
works and expressive forms from our cultural
heritage.
Competence in learning how to learn 1, 2, 3, W1, 4, 5, 6, W2, 7, 8, 9, W3

Recognise one’s own strengths and 2, 5, W2
weaknesses. Benefit from strengths and
overcome weaknesses through motivation
and will, building on an expectation of
success.
Develop skills for obtaining information and 3
assimilating it as personal knowledge, making
links between, and integrating new
information with, prior knowledge and
Apply new knowledge and skills in similar 2, 4, 5, 6
situations and in different contexts.
Manage effort, self-assess and accept 1, 7
mistakes.
Learn from others and with others. W1, W2, 8, W3
Recognise one’s own competence, in order to W1, 9, W3
generate a sense of motivation, self-
confidence and the joy of learning.
Competence in autonomy and 2, 3, W1, 4, 5, 6, W2, 7, 8, 9, W3

personal initiative
Make personal choices, design projects, set goals, 7
redesign previous approaches and produce new
ideas.
Analyse possibilities and limitations; know the W1, W3
stages of development of a project; plan; make
decisions and assume risks.
Assess what has been done and self-assess, 2, 3, 4, 5, 6, 8
draw conclusions and evaluate possibilities for
improvement.
14
Demonstrate assertiveness and flexibility, as W1, W2, 9, W3

well as social skills, in relating to others,
cooperating and working in groups: empathise
with others, value others’ ideas, communicate
and negotiate.
W: Workshop
15
THIRD CYCLE
PROGRAMME
16
FIFTH GRADE UNIT PROGRAMMES
Below, the programme for each one of the 9 teaching units is completely developed in
which the contents for this fifth grade has been organised and sequenced. Their
corresponding teaching objectives, contents, evaluation criteria and basic competences
associated with evaluation criteria and activities have been indicated in each one of
them.
UNIT 1
LOOK AROUND YOU
OBJECTIVES
1. To recognise the vocabulary from the unit and use it when talking to the teacher
and classmates.
2. To interpret and reflect on the reality of and images within one’s surroundings.
3. To interpret codes, photographs and a range of pictorial works.
4. To recognise linear structures in one’s natural surroundings.
5. To plan and create simple artistic works using interwoven lines and blobs.
6. To experiment with blobs or splodges to create different shapes.
7. To reflect on the importance of respecting and taking care of the environment.
8. To become familiar with the prehistoric cave paintings at Altamira and analyse
their artistic and expressive qualities.
9. To use appropriate techniques and take good care of tools.
CONTENTS
Concepts
 Elements of visual language
- Dot and line as elements that generate interwoven patterns.
- Outline as a defining element of space.
- Blobs or splodges as creative elements of form.
 Artistic compositions
- Shapes in space.
- Interwoven lines as a creative element.
- Graphic elements as generators of outlines, shapes and interwoven
patterns.
 Drawing as a visual language

- Drawing as a tool for communication and expression.
 Artistic expression
- The artistic value of lines and blobs or splodges.
 Techniques and materials

- Interwoven or latticework patterns, embroidery patterns, etc.
- Pencils. Coloured pencils. Wax crayons. Felt-tip pens.
17
Procedures
 Learning the vocabulary used in the unit.
 Observing and interpreting images, photographs and codes from the reality
around us.
 Making interwoven lines, latticework fences, embroidery patterns, etc.
 Drawing and reproducing models.
 Using lines and dots, interwoven lines, latticework, patterns, etc. with
precision in artistic compositions.
 Organising specific shapes within a given space.
 Planning one’s own work of art.
 Studying Klimt’s works of art and landscapes by other artists.
 Looking for information on the Altamira cave paintings on the Internet.
 Recognising the variety of graphic elements within a work of art
 Appropriate use of techniques and tools in artistic compositions.
Attitudes
 Making an effort to use, and showing an interest in, the vocabulary
introduced in the unit.
 Recognising and appreciating the artistic works around us.
 Showing an interest in creating artistic compositions.
 Demonstrating artistic taste when combining lines and dots in an expressive
and creative way.
 Showing appreciation for the artistic value of the line and blob in the
Altamira cave paintings.
 Demonstrating artistic taste when combining different colours and types of
drawing.
 Accuracy in reproducing interwoven patterns.
 Taking care of materials and drawing tools.
 Presenting one’s work neatly.
 Participating actively in group work.
 Showing an interest in other people’s artistic and creative work.
EVALUATION CRITERIA
1. To use the vocabulary from the unit when talking to the teacher and
classmates.
2. To interpret images, photographs and codes from the reality around us and
reproduce them in drawing.
3. To interpret and reproduce linear structures from our surroundings.
4. To use graphic elements (lines and dots) to generate outlines, shapes and
different interwoven patterns.
5. To plan and organise an artistic composition using different shapes within a
given space.
6. To enjoy and appreciate the landscape by Gustav Klimt and to recognise the
importance of the variety of graphic elements in it.
7. To recognise the importance of the Altamira cave paintings and, in groups, to
look for information about them and their significance.
8. To draw lines, shapes and complex forms accurately.
9. To present one’s own work in a neat and appropriate manner.
18
BASIC COMPETENCES / EVALUATION CRITERIA / ACTIVITIES
BASIC COMPETENCES / EVALUATION CRITERIA ACTIVITIES

SUBCOMPETENCES
Competence in linguistic communication *

Use specific vocabulary from 1, 2, 3, 4, 5, All
each subject area to enrich 6, 7, 8, 9
one’s language.
Apply the actions that define 1 All
linguistic communication
(listening, speaking, reading
and writing) to specific
purposes.
Mathematical competence
Identify and organise objects 2, 3, 5 p. 5-9
according to particular spatial
criteria.
Manipulate basic 2, 3, 4, 5, 8 p. 5-13
mathematical elements, such
as different types of numbers,
measurements, symbols,
geometrical elements, etc., in
authentic situations and in
Competence in knowledge and interaction with the physical world

Develop the ability to interact 1, 2 p. 5-9
with the surroundings and to
solve problems relating to
Processing information and digital competence

Understand and make use of 2, 3, 4, 5, 6, 7, 8 All
basic linguistic and contextual
information (textual,
numerical, pictorial, visual,
graphic and audible), and
apply language rules and
structures in decoding and
transferring it.
Social competence and citizenship

Participate actively and 7 p. 11, 12
responsibly in group-learning
activities, respecting the
operating rules of the group.
Cultural and artistic competence

Develop an open and critical 1, 2, 3, 4, 5, 6,7 ,8, 9 p. 9-13
attitude that respects the
diversity of forms of artistic
expression, as well as
sensitivity and aesthetic
sensibility, in order to
understand, value and enjoy
different types of art.
19
Demonstrate the desire and 1, 2, 3, 4, 5, 6, 7, 8, 9 All

will to develop aesthetic and
creative skills, and
demonstrate initiative,
imagination and creativity in
order to express oneself
using artistic codes.
Competence in learning how to learn

Manage effort, self-assess 1, 2, 3, 4, 5, 6, 7, 8, 9 All
and accept mistakes.
* All the subcompetences detailed in this section are developed using English as the common
language, which will allow pupils to communicate with an increasing degree of skill in a foreign
language (Subcompetence of Competences Oxford Education for Primary).
20
UNIT 2
SO MANY COLOURS
OBJECTIVES
1. To learn the vocabulary from the unit and use it when talking to the teacher and
classmates.
2. To recognise primary colours and their complements.
3. To learn to value the importance of colour in our surroundings.
4. To experiment with different tones and colour ranges.
5. To learn how to use colour to create different shapes.
6. To become familiar with, and analyse features of, some artistic works by Antoni
Gaudí.
7. To appreciate the artistic value of one’s own work and that of others.
8. To improve one’s level of skill in different artistic techniques and use them
appropriately
9. To take good care of materials and use them appropriately.
CONTENTS
Concepts
- Colour tones and ranges.
- Complementary colours.
- Volume.
- Sensations conveyed through colour.
- Tonal diversity.
- Chromatic range.
- Harmony, contrasting colours and proportion.
- Representing volume.
- Drawing as a visual language

- Colour as a generator of form in drawing.
- Coordinating form and colour in drawing.
- Artistic expression
- The artistic and expressive value of colour.
- The relationship between light and colour.
- Techniques and materials

- Colour gradation.
- Collage.
- Applying colour using different techniques and tools.
- Work as a process.
- Paper. Pencils. Coloured pencils. Wax crayons. Coloured chalk. Fine
felt-tip pens. Poster paints. Paintbrushes. Photographs. Flashcards. The
Internet. Scissors. Glue sticks. Toothpicks…
21
Procedures
 Using black or white to obtain darker or lighter tones of the original colour.
 Using different tones to represent volume and light.
 Drawing using different tones of the same colour.
 Using light and shade to represent objects.
 Controlling the pressure applied to pencils and felt-tip pens when drawing
on paper and card.
 Applying colour using a variety of tools and techniques.
 Looking at how Gauguin coordinated form and colour in his paintings and
applying the same technique to one’s own work.
 Looking at and analysing Gaudí’s works in Cataluña and creating different
works using them as a starting point.
 Looking for information on the Internet about Gaudí’s work and about the
techniques and materials he used
 Understanding each of the steps involved in an artistic process and
following them in one’s own work.
Attitudes
 Demonstrating artistic taste when combining colours in an expressive and
creative way.
 Appreciating the artistic value of the diversity of colour tones and ranges.
 Attempting to apply the appropriate amount of pressure to tools when
drawing and colouring to achieve the desired effect.
 Demonstrating curiosity about and interest in Gaudí’s work in Cataluña.
 Taking good care of materials and drawing tools.
 Appreciating and analysing sensations conveyed through colour.
 Attempting to show colour harmony, contrast and proportion in one’s own
artistic compositions.
 Confidence in one’s own artistic abilities.
EVALUATION CRITERIA
classmates.
2. To experiment with the different tones within a colour range.
3. To apply colour using a variety of tools and techniques.
4. To combine primary colours with their complements.
5. To participate in an active and motivated way in the different activities related to
Gaudí’s work.
6. To experiment with the relationship between light and colour when drawing
different objects.
7. To coordinate colour and form appropriately in the unit’s activities.
8. To analyse the sensations conveyed through colour in different artistic works.
9. To value the importance of each of the steps involved in the process of artistic
creation.
10. To control the pressure applied to tools when drawing and colouring in order to
achieve the desired effect.
22

12. To assess one’s own work, recognising one’s mistakes and motivating oneself
to improve.

SUBCOMPETENCES
Competence in linguistic communication

Communicate thoughts, 1, 12 All
emotions, life experiences,
opinions, ideas, and ethical
and critical judgements in a
coherent way.
Use specific vocabulary from 1 Ll
each subject area to enrich
one’s language.
Apply mathematical 2, 4, 6, 7 p. 15-18, 23
information to different

Participate actively and 5 p. 21-22

Gain knowledge of the main 2, 3, 4, 5, 6, 7, 8, 9 10 All
techniques, resources and
conventions of different
artistic languages, as well as
of the most significant works
and expressive forms from
our cultural heritage.

Recognise one’s own 1, 2, 3, 4, 5, 6, All
strengths and weaknesses. 7, 8, 9, 10, 11, 12
Benefit from strengths and
overcome weaknesses
through motivation and will,
building on an expectation of
success.
Apply new knowledge and 1, 2, 3, 4, 5, 6, All
skills in similar situations and 7, 8, 9, 10, 11, 12
in different contexts.
23
Competence in autonomy and personal initiative

Assess what has been done 12 All
and self-assess, draw
conclusions and evaluate
possibilities for improvement.
24
UNIT 3
TEXTURES AND SHAPES
OBJECTIVES
classmates.
2. To recognise the different forms and shapes of objects.
3. To appreciate that light and colour are generators of textures.
4. To recognise the axes of symmetry of different natural and artificial shapes.
5. To appreciate the importance of form and its structure in artistic representations.
6. To become familiar with some of Eduardo Chillida’s works and to analyse their
elements.
7. To develop one’s skill in the appropriate use of different techniques.
8. To take good care of materials and use them appropriately
9. To reflect on the need to recycle materials, and on the artistic potential of
apparently unusable materials.
CONTENTS
Concepts
- Light, colour and shape as generators of texture.
- Types of shape.
- Visual and tactile textures.
- Visual texture in artistic works.
- The importance of shape in artistic works.

- Drawing objects using axes of symmetry as a starting point.
- The geometric value of a shape’s structure and points of articulation.

- Materials with different textures.
- Pencils. Coloured pencils. Fine and thick felt-tip pens. White paper.
Clay. Toothpicks. White card. Glue sticks. Scissors. Wax crayons. The
Internet. White modelling clay. An assortment of pieces of fabric.
Procedures
 Drawing objects taking their axes of symmetry as a starting point.
 Discriminating between natural and artificial shapes.
 Recognising the importance of axes of symmetry in drawing objects.
 Accuracy in drawing simple geometric shapes.
 Representing shapes and groups of shapes.
 Using different visual textures in artistic creations.
25
 Searching for different pictures of the Terracotta Army and taking them as
the basis for sketches.
 Looking at and analysing Chillida’s works and creating different works taking
them as a starting point.
 Looking for information on the Internet about Chillida’s works and the
techniques and materials he used.
 Showing appreciation for Chillida’s works and other works of art from the
País Vasco.
 Drawing simple geometric shapes accurately.
 Representing complex groups of shapes.
 Making Christmas decorations for the classroom.
Attitudes
 Demonstrating artistic taste when combining shapes and colours in an
expressive and creative way.
 Showing appreciation for the artistic value of the diversity of forms and
textures that exist.
 Valuing the importance of form in artistic works from different periods.
 Demonstrating curiosity about and interest in Chillida’s work.
 Evaluating and analysing the sensations conveyed through shape and
texture.
 Making an effort to show colour harmony and contrast, and to make
appropriate choices of colour tone in one’s artistic compositions.
EVALUATION CRITERIA
classmates.
2. To identify and discriminate between the different shapes and textures in
objects from our surroundings.
3. To generate different types of visual textures in one’s drawings.
4. To make drawings of different objects and geometric shapes using the axis of
symmetry as a starting point.
5. To analyse how light is reflected off the different surface textures of an object
one has created oneself.
6. To observe some of Chillida’s sculptures and analyse their form and structure.
7. To look for and select information about Chillida’s works and their relationship
with the natural environment.
8. To value the importance and significance of shapes and forms in different works
of art.
9. To represent simple and complex groups of shapes following a model.
10. To apply the techniques practised in the unit correctly.
11. To choose old materials to reuse in artistic works.
12. To present one’s work in a neat and appropriate manne
to improve.
26

SUBCOMPETENCES

Communicate simple 1, 5, 6, 7, 8 All
messages, verbally and in
writing.
Use specific vocabulary from 1 All
one’s language.
Apply the actions that define 1, 2, 3, 4, 5, 6, 7, All
linguistic communication 8, 9, 10, 11, 12, 13
purposes.
Identify and organise objects 2, 4, 6 p. 27-30, 33
criteria.
Manipulate basic 2, 3, 4, 5, 6, 9 All

Use information and 7 p. 31
communication technologies
to generate and transmit
information, taking into
account the previously-
established aims and
objectives of learning, work
and leisure activities.

Develop an open and critical 2, 3, 4, 5, 6, 7, 8, 9 All
Demonstrate the desire and 2, 3, 4, 5, 6, 7, 8, 9 All
27
Gain knowledge of the main 10 All


Develop skills for obtaining 1, 2, 3, 4, 5, 6, 7, All
information and assimilating it 8, 9, 10, 11, 12, 13
as personal knowledge,
making links between, and
integrating new information
with, prior knowledge and

28
WORKSHOP 1
GOOD ENOUGH TO EAT!
OBJECTIVES
classmates.
2. To look at the different elements represented in Zurbarán’s painting and analyse
their position.
3. To apply the knowledge and skills gained during the term to prepare and carry
out the workshop activities.
4. To become familiar with the techniques necessary to create the still life.
5. To use appropriate techniques when using artistic tools.
6. To participate in the group activities of the workshop.
7. To develop confidence in one’s own ability to make artistic compositions like the
one produced in the workshop.
8. To take good care of materials and tools and use them appropriately.
CONTENTS
Concepts
- Interwoven patterns.
- Colour tone and range.
- Volume.
- Basic artistic elements as generators of outline, form and interwoven
models.
- Diversity of colour tone.
- Chromatic (colour) range.
- The relationship between colour and light.
- Representing volume.
- Harmony, contrasting colours and proportion.

- Drawing as a means of communication and expression.
- Colour as generator of form in drawing.
Procedures
 Recognising the variety of graphic elements present in Zurbarán’s painting.
 Planning the different phases of the group composition.
 Drawing and reproducing the model of Zurbarán’s painting.
 Accuracy in using interwoven patterns to create the basket.
 Organising pieces of fruit of different shapes within the fixed space of the
basket.
29
 Using different tones to represent volume and light in the pieces of fruit in
the still life.
 Colouring in the pieces of fruit using a variety of tools and techniques.
 Using light and shade in the still life.
 Using the techniques, materials and tools required for the workshop
appropriately.
 Understanding and following each of the steps required to make the artistic
composition.
 Reflecting as a group on the importance of including fruit in our daily diet.
Attitudes
 Recognising and appreciating artistic works around us.
 Showing artistic taste when combining different colours and types of
drawing.
 Reproducing models and interwoven patterns accurately.
 Demonstrating curiosity about and interest in the details shown in the
illustrations that guide students through the workshop.
 Attempting to control the pressure applied to tools when drawing and
colouring in order to achieve the desired effect.
 Attempting to demonstrate harmony, contrast and proportion in the colours
used in one’s artistic compositions.
 Showing respect for classmates’ contributions
 Valuing and appreciating one’s own work and that of others.
EVALUATION CRITERIA
classmates.
2. To identify the different objects represented in Zurbarán’s painting and to
represent them in the artistic composition.
3. To follow the different steps and techniques needed to make the still life exactly,
taking Zurbarán’s painting as a model.
4. To cut out, organise and stick down the different drawings that make up this
artistic composition with precision
5. To use the materials and tools needed in the workshop with care.
6. To participate actively in the workshop activity and to show a cooperative
attitude
7. To express one’s opinions on the work, showing respect towards others
8. To value classmates’ suggestions and ideas when planning and making the still
life.
9. To present the artistic composition in a neat and appropriate manner.
10. To show initiative and confidence in one’s own abilities when carrying out the
workshop activitie
to improve.
30

SUBCOMPETENCES

Communicate simple 1, 7, 8, 11 All
writing.
one’s language.
Identify and organise objects 2, 3, 4 p. 35,38
criteria.

Understand and make use of 6, 7, 8 p. 35, 37-38
transferring it.

Participate actively and 6, 7, 8 p. 35, 37-38

Develop an open and critical 2, 3, 7, 8 All
Demonstrate the desire and 2, 3, 4, 6, 9, 10 All
Gain knowledge of the main 2, 3, 4, 5 All
31

Learn from others and with 6, 7, 8 p. 35, 37-38
others.
Recognise one’s own 10, 11 All
competence, in order to
generate a sense of
motivation, self-confidence
and the joy of learning.

Demonstrate assertiveness 6, 7, 8, 10 All
and flexibility, as well as
social skills, in relating to
others, cooperating and
working in groups: empathise
with others, value others’
ideas, communicate and
negotiate.
32
UNIT 4
LIGHT AND SHADE
OBJECTIVES
classmates.
2. To recognise light and colour variation as means of representing volume.
3. To appreciate the importance of light as a vital element in artistic
representations.
4. To study the size of objects and how it is represented.
5. To understand the relationship between light and shade in generating three-
dimensional spaces.
6. To become familiar with some of Paul Signac’s works and to analyse their
elements.
7. To identify the main characteristics of the Cathedral of Santiago de Compostela.
CONTENTS
Concepts
- Light as a way of generating tone and contrast.
- Form and volume, factors that complement each other in visual
language.
- Light and shade as elements that generate three-dimensional spaces.
- Drawing animals.
- Colour gradation as a means of representing volume.
- The light-shade binomial, an element for representing volume.
- The size of objects; their oblique representation.
- Representing three-dimensionality.

- The characteristics of line (intensity and thickness) in representing
volume.
- Light within works of art.

- Pointillism.
- White paper. A big piece of white card. Pencils. Coloured pencils. Wax
crayons. Pastels. Sweets (in a variety of flavours). Fine and thick felt-tip
pens. Paintbrushes. Containers. Poster paints. Scissors. Cotton buds.
The Internet.
33
Procedures
 Recognising the role of light as an element that generates a spatial
dimension in some artistic images and styles.
 Observing and analysing shapes, and how volume and light reflections on
the surface of different objects and spaces are represented.
 Drawing different chess pieces, paying careful attention to the finished
pieces that are situated in the background of the composition.
 Making drawings, colouring in all of their architectural and decorative
features, paying particular attention to light and volume.
 Using lines of different intensity and thickness to represent volume in
drawings.
 Representing reflections of everyday items (spoons, metal scissors, a
Thermos flask, etc.) on metallic surfaces in drawings.
 Looking at and analysing Signac’s works and using the Pointillist technique
to represent the reflections of objects and light on water.
 Looking for and selecting information about the artist and the works of art
studied in the unit.
 Observing and analysing the different expressive qualities of volume in
representing objects
 Using light and shade to generate three-dimensional spaces.
Attitudes
 Demonstrating artistic taste in representing the volume of objects, especially
in three dimensions.
 Demonstrating curiosity about and interest in identifying how light is
reflected in different objects and shapes.
 Valuing the importance of form in artistic works from different periods.
 Demonstrating curiosity about and interest in Signac’s work and the
technique of Pointillism.
 Appreciating and analysing the main characteristics of the Cathedral of
Santiago de Compostela.
 Making an effort to show harmony in light and shade in one’s artistic
compositions.
 Confidence in one’s own artistic abilities
 Participating actively in group work
 Valuing one’s work and that of others.
EVALUATION CRITERIA
classmates.
2. To apply a range of tones and colours to represent volume in different objects.
3. To use light, shade and shape to represent volume in a series of drawings.
4. To apply different amounts of pressure to drawing tools to alter the intensity and
thickness of lines and so represent volume in drawings.
5. To value the importance and significance of light in artistic works from different
periods.
34
6. To use the Pointillist technique, using Signac’s work as a model.

7. To look for and select images of the Cathedral of Santiago de Compostela and
the Camino de Santiago and draw some of them.
8. To draw three-dimensional spaces combining light and shade.
9. To present one’s own work in a neat and appropriate manne.
to improve.

SUBCOMPETENCES

Communicate simple 1, 10 All
writing.
Communicate thoughts, 1, 5, 10 p. 44-46
coherent way.
one’s language.
Apply mathematical 2, 3, 4, 5, 6 p. 39-44, 47

Understand and make use of 2, 3, 6 All
transferring it.

Gain knowledge of the main 2, 3, 4, 5, 6, 7 All
conventions of different artistic
languages, as well as of the most
significant works and expressive
forms from our cultural heritage.
35
Competence in learnig how to learn

Apply new knowledge and 1, 2, 3, 4, 5, 6, 7, 8, 9 All
skills in similar situations and

Assess what has been done All
36
UNIT 5
CAREFUL WITH THE PROPORTIONS!
OBJECTIVES
classmates.
2. To understand the importance of gaining a global vision of graphic space and a
good understanding of dimensions.
3. To use framing to organise graphic spaces.
4. To understand the importance of proportions and placement of objects in an
artistic composition.
5. To learn to use a grid when drawing objects.
6. To become familiar with the work of Alonso Berruguete and to reproduce part of
one of his works.
7. To use appropriate techniques when using tools.
CONTENTS
Concepts
- Utilizing graphic space: its distribution and structure.
- The grid.
- The conceptual and graphic environment.
- Graphic space as a surface for expression and communication.
- Framing as an aid in composing artistic works.
- Global vision of graphic (two-dimensional) space.
- The value of schematic representation.
- Preliminary thinking, reflection and planning as essential parts of the
graphic representation of ideas, thoughts and feelings.

- Relation between the dimensions of the drawing surface and the size of
the images represented within it.
- Representing an object from different perspectives
- Utilizing graphic space in works of art.
- The conceptual content of works of art

- White paper. A big piece of white card. Pencils. Coloured pencils. Wax
crayons. The Internet. Paintbrushes. Fine and thick felt-tip pens. PVA
glue…
Procedures
 Drawing sketches, making use of the outlines provided and paying careful
attention to the representation of light and shade.
37
 Thinking and planning as essential steps in the graphical representation of

ideas, thoughts and feelings.
 Using a grid to organise graphic space.
 Representing an object from different points of view.
 Using sketching as a way of organising graphic space.
 Creating works of art which are portrait and landscape in orientation.
 Using the grid as a starting point for representing objects and the human
figure.
 Reflecting on the type of beauty and harmony represented by the Venus de
Milo.
 Looking at a photograph and making a colour copy of the figures that
appear in it.
 Analysing the poses and gestures of the figures in a photograph and
discussing the meaning of the scene.
 Looking for information about the work of Alonso Berruguete and the
Renaissance.
 Recognising the similarities and differences between works of art from
different periods
 Precision in representing the relative proportions of different objects in an
artistic composition.
Attitudes
 Demonstrating interest in the distribution of objects in a series of drawings.
 Using grids carefully to represent objects and figures from different
perspectives.
 Demonstrating interest and artistic taste in using the techniques covered in
the unit to represent graphic space.
 Recognising that reflection and planning are essential elements in the
 Appreciating the importance of the sense of movement conveyed in artistic
works from different periods.
 Demonstrating curiosity about and interest in Alonso Berruguete’s works
and different aspects of Renaissance art.
 Attempting to show the relative proportions of the objects and figures
represented in one’s artistic compositions.
 Presenting one’s work neatly
EVALUATION CRITERIA
classmates.
2. To use a grid appropriately to represent objects and figures from different points
of view.
3. To draw objects freehand, within a given space and from a given point of view.
4. To draw sketches, making use of the outlines given and paying careful attention
to the representation of light and shade.
5. To appreciate the importance and significance of the depiction of movement,
proportions and the distribution of figures in works of art from different periods.
38
6. To analyse the placement of figures in the works of Alonso Berruguete and to

reproduce some of them.
7. To draw a scene and colour it in, paying careful attention to the proportions of
the different objects represented in it.
8. To present one’s own work in a neat and appropriate manne.
to improve.

SUBCOMPETENCES

Communicate simple 1, 5, 9 All
writing.
Communicate thoughts, 1, 3, 4, 7, 9 p. 52, 54-57
coherent way.
one’s language.
Apply mathematical 1, 2, 3, 4, 7 All

Develop the ability to interact 2, 3, 7 p. 49-53

Participate actively and 5, 6 p. 55-56

39
Gain knowledge of the main 2, 3, 4, 5, 6, 7


Recognise one’s own 1, 2, 3, 4, 5, 6, 7, 8, 9 All
strengths and weaknesses.
overcome weaknesses
success.
Apply new knowledge and 1, 2, 3, 4, 5, 6, 7, 8, 9 All

40
UNIT 6
DISCOVERING PERSPECTIVE
OBJECTIVES
classmates.
2. To appreciate the importance of line in representing perspective
3. To become familiar with technical drawing.
4. To recognise and use the fundamental constituents of the representation of
movement.
5. To learn to represent simple geometric shapes in perspective.
6. To learn to represent three-dimensional space using perspective and proportion.
7. To become familiar with the work of Perugino and to reproduce part of one of
his works.
8. To value the artistic importance of the Roman theatre of Mérida and to analyse
some of its features
CONTENTS
Concepts
- The importance of line in representing perspective.
- The function of line in representing movement.
- The vanishing point.
- Types of perspective. Visual and graphic perspective.
- Proportion within artistic compositions.
- Representing objects in motion.
- Different planes within artistic works.

- Introduction to technical drawing.
- Simplicity in representing perspective.
- Drawing, proportion and depth.
- The representation of movement in artistic works.
- Order in the process of artistic creation.

- Pencils. Ruler. Coloured pencils. Wax crayons. Fine and thick felt-tip
pens. The Internet. Set squares. Glue sticks. Scissors.
Procedures
 Learning the vocabulary used in the unit
 Following the correct order in artistic works.
 Using lines and vanishing points to represent perspective in drawings.
 Looking at and analysing aspects of the representation of movement.
41
 Representing an object in motion, taking its structure as starting point.

 Understanding how perspective, movement and proportion are represented
in the figures observed.
 Drawing simple geometric shapes in perspective.
 Representing three-dimensional space using perspective and proportion.
 Looking at a painting by Perugino and analysing the people that appear in it
and how perspective is represented.
 Looking for and choosing different images of the Roman theatre of Mérida.
 Looking at and analysing the different features of the theatre of Mérid.
 Making drawings related to the Roman theatre of Mérida.
Attitudes
 Depicting the graphic elements in one’s drawings accurately.
 Demonstrating curiosity about and interest in reproducing and drawing a
particular series of images.
 Attempting to experiment with and use the techniques and materials from
the unit appropriately.
 Appreciating the importance of following the correct order in the production
of artistic works.
 Demonstrating curiosity about and interest in Perugino’s work.
 Recognising the efforts made by Perugino to represent perspective and
their value.
 Curiosity about and interest in finding out about the Roman theatre of
Mérida.
 Presenting one’s drawings neatly.
 Using working tools and materials carefully and accuratel.
 Appreciating and respecting different people’s work.
EVALUATION CRITERIA
classmates.
2. To represent objects in motion, taking line and the structure of the objects as a
starting point.
3. To draw parallel and perpendicular lines to represent simple geometric shapes
in perspective.
4. To follow a pre-determined order in the production of artistic compositions.
5. To represent three-dimensional space using perspective and proportion.
6. To appreciate the use of perspective in art and its importance.
7. To reproduce pictures based on Perugino’s painting, respecting the proportions
given in the model.
8. To look for information about the Roman theatre of Mérida and the Mérida
theatre festival. To discuss this information with the rest of the class.
9. To invent a story and design a theatre set to represent it, paying careful
attention to the different planes and elements represented within the scene.
10. To present one’s artistic works in a neat and appropriate manne
to improve.
42

SUBCOMPETENCES

Speak, listen and participate 1, 6, 8, 11 All
in dialogue and debate in an
organised and clear manner
one’s language.
Process information from oral 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 All
and written sources.
Identify and organise objects 2, 3, 5, 7, 9 p. 59-64, 67
criteria.
Manipulate basic 2, 3, 5, 7, 9 p. 59-64, 67

Develop the ability to interact 2, 3, 5, 7, 9 p. 60-62, 64

Communicate acquired 1, 8 p. 64-66
knowledge using different
types of language and
different techniques, as well
as making use of the
possibilities that information
and communication
technologies (ICT) offer.

Gain knowledge of the main 2, 3, 4, 5, 6, 7, 8, 9 All
43
Competence in lerning how to learn

Apply new knowledge and 1, 2, 3, 4, 5, 6, 7, 8, 9, 10 All

44
WORKSHOP 2
THE NEIGHBOURHOOD AT NIGHT
OBJECTIVES
classmates.
2. To apply the knowledge and skills gained during the term to plan and create a
mural.
3. To use the techniques necessary to do the work.
4. To use appropriate techniques when using tools and materials.
5. To participate in the group activity of the workshop actively.
CONTENTS
Concepts
- Light as generator of tone and contrast.
- Utilizing graphic space: distribution and structure.
- The grid.
- Colour variation as a means of representing volume.
- Global vision of graphic (two-dimensional) space.
- Representing the size of objects.

volume.
Procedures
 Looking at the techniques and materials used in the painting to represent
darkness and applying them to the workshop activity.
 Recognising the role of light as a generator of three-dimensional spaces.
 Observing and analysing shapes and how volume and light reflections are
represented on the surface of different objects and spaces.
 Using a grid to organise graphic space.
 Using lines of different thickness and intensity to represent volume.
 Using light and shade to generate three-dimensional spaces.
 Representing the proportions of the different objects represented within the
mural accurately.
45
 Attempting to control the pressure applied to tools when drawing and

colouring in order to achieve the desired effect.
composition.
appropriately.
Attitudes
painting that is used as inspiration for the workshop activity.
 Accuracy in the use of the grid as a guide to help space the windows out
equally.
 Demonstrating curiosity about and interest in how light is reflected on
different objects and shapes.
 Showing artistic taste in combining different colours and drawings.
 Attempting to show the relative proportions of the different elements
represented in the mural.
 Showing respect for classmates’ contributions.
 Valuing and appreciating one’s own work and that of other.
 Reflecting as a group on city life and the importance of collaboration and
mutual respect in creating a peaceful and harmonious society.
EVALUATION CRITERIA
classmates.
2. To describe the different features of the painting displayed on the easel.
3. To observe closely and apply the techniques used in the painting to represent
space, volume and darkness.
4. To draw the façade of a building seen at night-time on a large piece of craft
paper.
5. To follow the different steps and techniques needed to make the mural exactly,
using the appropriate materials and tools.
6. To cut out, organise and stick down the different drawings that make up this
artistic composition with precision.
attitude.
9. To express one’s opinions on the work, showing respect towards others.
10. To value classmates’ suggestions and ideas when planning and making the
mural.
11. To present the artistic composition in a neat and appropriate manner.
workshop activities.
to improve.
46

SUBCOMPETENCES

Communicate simple 1, 2, 3, 4, 5, 6, 7, All
messages, verbally and in 8, 9, 10, 11, 12, 13
writing.
Apply language usage rules, 1, 2, 8, 9, 10, 13 All
as well as linguistic and non-
linguistic skills, when
communicating.
one’s language.
Identify and organise objects 3, 4, 5, 6, 12 p. 71
criteria.

Develop the ability to interact 2, 3, 4, 5, 6, 12 p. 69, 71

Participate actively and 1, 3, 4, 5, 6, 7, 8, 9, 10,11, 12 p. 69, 71-72

Demonstrate the desire and 3, 4, 5, 6, 8, 11, 12 All
Gain knowledge of the main 2, 3, 4, 5, 6, 7, 8, 11, 12 All

Learn from others and with 8, 9, 10, 12 p. 69, 71-72
others.
Recognise one’s own 12, 13 All
generate a sense of
47

Demonstrate assertiveness 8, 9, 10, 12, 13 All
negotiate.
48
UNIT 7
WE CAN DRAW IDEAS
OBJECTIVES
classmates.
2. To understand the structure of the human figure and learn to represent it.
3. To learn to construct and deconstruct figures.
4. To identify different artistic techniques for representing figures in motion.
5. To learn to represent the proportions and volume of different objects and figures
in drawings.
6. To become familiar with Rodin’s work and his way of representing the human
figure.
7. To appreciate the artistic significance of the Great Mosque of Córdoba through
the analysis of some of its features.
CONTENTS
Concepts
- Line and colour.
- Representing proportion in the human figure.
- Representing volume in the human figure .
- Three-dimensionality.
- The human figure as a central subject in works of art.

- Basic artistic elements.
- Basic artistic elements in abstract art.
- Drawing as the representation of both narratives and concepts.
- Abstraction as a link between different levels of reality.
- The human figure in the history of art: The Thinker by Rodin.
- The development of different artistic concepts according to the intentions
(and results) of the artistic work.

- Pencils. Felt-tip pens. Crayons. Glue sticks. Scissors. PVA glue.
Compass. Ruler. Cardboard. Magazines. Newspapers. Paper. Craft
paper. Modelling clay. Paintbrushes. Poster paints. Fabric. Strings.
Toothpicks. Ice-cream sticks.
Procedures
 Using line and colour in images.
49
 Following the correct order in the process of artistic creation.

 Constructing and deconstructing figures following a model.
 Drawing the human figure from life and by copying models.
 Observing and analysing the different aspects of the representation of the
human figure.
 Using different artistic techniques to represent movement.
 Using a compass to draw circumferences and arcs.
 Recognising the role of basic artistic elements in abstract drawings.
 Becoming familiar with different means of expression in works of art.
 Looking at The Thinker by Rodin and analysing it.
 Looking for and choosing different pictures of La Giralda in Sevilla.
 Analysing the main characteristics of the entrance and the prayer room of
the Great Mosque of Córdoba
Attitudes
 Depicting graphic elements in one’s drawings accurately.
 Demonstrating curiosity about and interest in reproducing a particular series
of images.
 Showing an interest in the different means of expression used in works of
art.
 Demonstrating curiosity about the different forms of conceptual art.
 Making an effort to experiment with and use the techniques and materials
from the unit appropriately.
 Valuing the importance of following an order in the process of artistic
creation.
 Demonstrating curiosity about and interest in Rodin’s work.
 Curiosity about and interest in finding out about the Great Mosque of
Córdoba and other examples of Muslim art.
 Presenting one’s drawings neatly
 Using tools and materials carefully and accurately.
EVALUATION CRITERIA
classmates.
2. To use the techniques learned in the unit to represent the human figure in
drawing.
3. To value the role of the human figure as a key subject of artistic representation.
4. To use different artistic techniques to represent figures in motion, such as using
light and shade to represent volume.
5. To construct and deconstruct images of objects and figures, following the
models provided.
6. To value the importance and the use of proportion and volume in the works of
art studied in the unit.
7. To produce images, taking The Thinker by Rodin as a starting point, and to
discuss Rodin’s work.
8. To look for information about different examples of Moorish art in Spain and to
discuss it in class.
9. To present one’s work in a neat and appropriate manner.
50
to improve.

SUBCOMPETENCES

Speak, listen and participate 1, 3, 6, 7, 8 All
organised and clear manner.
one’s language.
Find information in different 8 p. 78-80
media (print and digital) and
use it in projects related to
different subject areas.
Manipulate basic 2, 4, 5, 6 p. 73, 75-77, 80-81

Organise, relate, analyse and 1, 2, 3, 6, 7, 8 p. 74, 77-80
synthesise information in
order to understand its
meaning and integrate it into
patterns based on prior
knowledge.

Develop an open and critical 2, 3, 4, 5, 6, 7, 8 All
Gain knowledge of the main 2, 3, 4, 5, 6, 7,8 All
51

Develop skills for obtaining 2, 3, 4, 6, 7, 8 All
information and assimilating it

Demonstrate assertiveness 7, 8 All
negotiate.
52
UNIT 8
DISCOVERING ART
OBJECTIVES
classmates.
2. To understand that the same subject can be represented in different ways using
different artistic elements.
3. To gain a basic grounding in technical drawing.
4. To foster the skills required for developing aesthetic criteria and judgement.
5. To develop one’s skills in using a compass to draw geometric shapes.
6. To become familiar with the painting, The Arnolfini Portrait, by Jan van Eyck,
and its particular artistic composition.
7. To gain knowledge of Asturian art through the analysis of the Cross of the
Angels and the Victory Cross.
CONTENTS
Concepts
- Basic artistic elements as generators of different ways of representing
reality.
- Line and colour.
- Introduction to different classical styles and architectural features.
- Art and its relation to design.
- Using different lines and shapes in creating artistic compositions.

- Drawing as the basic framework for a work of art.
- The concept of an artistic work.
- The work of art as the perfected conjunction of various artistic elements.
- Artistic values in a work of art.

- Pens. Compass. Ruler. Eraser. Computer. Foil paper. Beads.
Paintbrushes. Glitter. A piece of elastic. Dictionary.
Procedures
 Interpreting different styles of artistic images.
 Using a compass to draw geometric shapes.
 Identifying some procedures proper to technical drawing.
53
 Recognising the geometric structure of objects.

 Interpreting images from one’s own artistic heritage and that of other
cultures.
 Developing aesthetic criteria and judgement.
 Experimenting with different materials and using ICT to create artistic works.
 Looking at The Arnolfini Portrait by Jan van Eyck and analysing its features.
 As a group, analysing the main characteristics of the Cross of the Angels
and the Victory Cross.
 Searching on the Internet for information relating to the content of the unit.
 Building a three-dimensional model of the tower of Oviedo Cathedral
Attitudes
 Depicting the graphic elements in one’s drawings accurately.
 Interest in finding out about the different avenues of expression that artistic
creation offers.
 Curiosity about works from different artistic styles.
 Interest in getting to know one’s own artistic heritage and that of other
cultures.
 Interest in finding out about and analysing the composition of the painting,
The Arnolfini Portrait, by Jan van Eyck.
 Curiosity in finding out about the Cross of the Angels and the Victory Cross,
and other examples of Asturian art.
 Attempting to follow an order in the process of artistic creation.
 Taking care of one’s own materials and belongings.
EVALUATION CRITERIA
classmates.
2. To use different artistic techniques to generate different ways of representing
the same object.
3. To read about and interpret images of artistic works from different periods,
styles and cultures.
4. To create artistic compositions based on works of art of different styles and
from different cultures.
5. To recognise the structure of the objects depicted in different works of art.
6. To analyse the features of van Eyck’s painting and glean information from it
about the society of the time.
7. To describe the main characteristics of the Cross of the Angels and the Victory
Cross, using the vocabulary learned in the unit.
8. To look for information about the different examples of Asturian art and discuss
it in class.
to improve.
54
BASIC COMPETENCES / EVALUATON CRITERIA / ACTIVITIES

SUBCOMPETENCES

Communicate simple 1, 3, 6, 7, 8 All
writing.
Communicate thoughts, 1, 3, 6, 7 10 All
coherent way.
one’s language.
Manipulate basic 2, 4, 5, 6, 7 p. 84, 86-87, 91

Demonstrate the desire and 2, 3, 4, 5, 6, 7,8 All
Gain knowledge of the main 3, 4, 6, 7, 8 p- 84, 88-90

Value learning as a source of 1, 2, 3, 4, 5, 6, 7, 8, 9 10 All
personal and social
enrichment and understand
that it deserves the effort that
it requires.
55

56
UNIT 9
BEAUTIFUL DRAWINGS
OBJECTIVES
classmates.
2. To understand the importance of image and the role of line, shape and colour in
the field of advertising.
3. To appreciate the use of visual textures and light as essential elements in
advertising.
4. To become familiar with the painting, Figure at a Window, by Salvador Dalí, and
reproduce some of its features.
5. To realise the importance of advertising in today’s society.
6. To develop aesthetic criteria to apply to advertising.
CONTENTS
Concepts
- The importance of line, shape and colour in advertising.
- Typefaces and advertising.
- Visual textures as an essential element in advertising.
- The role of everyday objects in the fields of journalism and advertising.
- The coordination of different aspects of artistic language to generate
good designs.
- The presence of new technologies in artistic works.

- Representational drawing as a basic feature used in advertising design.
- The value of the image of the human figure.
- New aesthetic and artistic codes.
- Developing aesthetic criteria in looking at advertising.

- Pens. Card Brochures. Magazines. PVA glue. Glue. Paintbrushes.
Compass. Recyclable materials. Poster paints. Scissors.
Procedures
 Experimenting with different materials and using ICT to create artistic works.
 Using line, shape and colour in advertising works.
57
 Reproducing drawings of different styles of letters following the models

provided.
 Reflecting on new aesthetic and artistic criteria.
 Making simple designs of everyday objects.
 Designing everyday objects as they were in the past, as they are today, and
as children imagine they will be in the future.
 Looking at the painting, Figure at a Window, by Salvador Dalí, and
analysing its elements.
 As a group, looking at and analysing different types of advertising.
 Discussing as a group the role of advertising in our society and the
importance of responsible consumption
 Searching on the Internet for information relating to the content of the unit.
Attitudes
 Taking an interest and care in designing and drawing typographic fonts.
 Interest in learning about new aesthetic and artistic codes.
 Valuing the importance of line, shape and colour in advertising.
 Reflecting on the artistic value of certain commercial logos.
 Attempting to utilise fine motor skills with precision in drawing.
 Interest in learning about and analysing the composition of the painting,
Figure at a Window, by Dalí.
 Interest in learning about the language of advertising as a means of artistic
expression.
 Attempting to follow an order in the process of artistic creation.
EVALUATION CRITERIA
classmates.
2. To observe, reproduce and colour in different models of letters.
3. To recognise the new aesthetic and plastic codes that are present in advertising
designs.
4. To make simple designs of everyday objects.
5. To analyse the details of the painting by Dalí and his representation of the
human figure in it.
6. To describe the elements which are characteristic of different types of
advertising and to experiment with them.
7. To appreciate the importance of new technologies in artistic works.
8. To discuss the role of advertising in today’s society, drawing on one’s personal
experience.
9. To experiment with the techniques learned in the unit using the greatest
possible variety of tools.
to improve.
58

SUBCOMPETENCES

Speak, listen and participate 1, 5, 6, 8 All
one’s language.
Process information from oral 1, 2, 3, 6, 8 All
Apply mathematical 2, 4 p. 93-95, 97

Understand and make use of 1, 3, 5, 6 p. 98-101
transferring it.


59

Recognise one’s own 1, 2, 3, 4, 5, 6, 7, 8, 9,10 All
overcome weaknesses
success.

Demonstrate assertiveness 8 All
negotiate.
60
WORKSHOP 3
CLOUDS OF ART
OBJECTIVES
1. To consolidate the vocabulary used throughout the year.

2. To recognise the cultural legacy of our ancestors through an appreciation some
of the most important works in the history of art.
3. To put the works created over the course of the year into chronological order
and display them together with the original works of art that inspired them
4. To use appropriate techniques when using tools and materials.
5. To appreciate the importance of each of the artists studied over the course of
the year.
6. To participate actively in the group activities of the workshop.
CONTENTS
Concepts
- Variety of artistic elements in a work of art.
- Types of shapes and textures.
- Light as a generator of tone and contrast.
- The importance of line in representing perspective. The vanishing point.
- Representing proportions and volume in the human figure.
- Chromatic range.
- Colour: harmony, contrast and proportion.
- Visual texture in artistic creations.
- The importance of shape in artistic creations.
- Types of perspective: visual and graphic perspective.
- The human figure as a central subject in artistic works.
- The work of art as the result of the combination of various artistic
elements.

- Proportion and depth in drawing.
Procedures
 Consolidation of the vocabulary used throughout the year.
composition of the workshop.
 Dating each of the works of art studied over the course of the year.
61
 Using the materials and tools required to make the mural appropriately and
accurately.
 Looking at the works by the artists studied over the course of the year and
comparing their characteristics.
 Recognising the relationship between colour and form in paintings by
Gauguin.
 Recognising the pointillist technique used in the works of Paul Signac in
order to depict reflections and light on the water.
 Recognising the characteristics of Renaissance art in the work of Alonso
Berruguete.
 Looking at and comparing sculptures by Chillida and Rodin.
 Looking at and comparing the different ways of representing people and
perspective in the works of Perugino, van Eyck and Dalí
 Recognising the importance and influence of each of the artists studied over
the course of the year.
Attitudes
introduced over the course of the year.
 Interest in creating one’s own artistic compositions taking famous works of
art as a model.
 Dating each of the works of art studied accurately.
 Curiosity and interest in organising chronologically the artistic works created
over the year, based on works by important artists.
 Showing respect for classmates’ contributions.
EVALUATION CRITERIA
classmates.
2. To understand what a timeline is.
3. To describe the works of art studied over the course of the year and identify the
artists who made them.
4. To associate the works made over the course of the year with the works of art
which inspired them, and put them in chronological order.
5. To recognise the important technical contributions to the history of art made by
each of the artists studied.
6. To perform each step of the workshop accurately: ordering, dating, cutting cloud
shapes, and sticking the works of art created over the course of the year onto
the mural.
attitude.
9. To value classmates’ suggestions and ideas when planning and making the
mural.
10. To present work in a neat and appropriate manner.
62

SUBCOMPETENCES

Communicate simple 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 All
writing.
Apply language usage rules, 1, 2, 3 All
as well as linguistic and non-
linguistic skills, when
communicating.
one’s language.

Participate actively and 8, 9 p. 103, 105-106

Gain knowledge of the main 3, 4, 5 All

Learn from others and with 8, 9 p. 103, 105-106
others.
Recognise one’s own 8, 10, 11 All
generate a sense of

negotiate.
63
64
SIXTH GRADE UNIT PROGRAMMES
Below, the programme for each one of the 9 teaching units is completely developed in
which the contents for this sixth grade has been organised and sequenced. Their
corresponding teaching objectives, contents, evaluation criteria and basic competences
associated with evaluation criteria and activities have been indicated in each one of
them.
UNIT 1
LEARNING HOW TO SEE
OBJECTIVES
1. To recognise and use the vocabulary from the unit when talking to the teacher
and classmates.
2. To interpret and reflect on the reality of, and images within, one’s surroundings.
3. To recognise the expressive qualities of different types of lines and interwoven
patterns.
4. To become familiar with Levantine Schematic Art and analyse its artistic and
expressive elements.
5. To appreciate the importance and significance of the sense of movement and
the expressiveness achieved using simple graphic elements, like the dot, blob
and line.
6. To develop a spirit of collaboration and an appreciation of a job well done.
7. To recognise and appreciate artistic creations made by one’s classmates.
CONTENTS
Concepts
- The dot and the line as generators of interwoven patterns.
- Shapes in space.
- Linear structures in our surroundings.
- The blob as a generator of form.
- Interwoven lines as essential elements of outline and form.
 Drawing as a visual langauge

- Drawing as a tool for communication and expression.
- The artistic value of dots, lines and blobs or splodges.
- Geometric shapes and abstract art.
- Levantine cave paintings. The representation of ideas and concepts in
schematic painting.
65
 Techiques and materials

- Pencils. Pictures of different animals. Felt-tip pens. Photographs of
different textiles. Card. Pieces of string. Macaroni. Poster paints.
Paintbrushes.
Procedures
 Observing and interpreting images, photographs and codes from the reality
around us.
 Designing linear forms for coffered ceilings, geometric decorations, hollow
forms, etc.
 Drawing and copying from models.
 Drawing lines, dots, patterns, models, etc., with precision in artistic
compositions.
 Organising specific forms within a given space.
 Planning an artistic work of one’s own.
 Studying a work by Pablo Palazuelo and identifying the main characteristics
of his work.
 Looking for information on the Internet about cave paintings, and specifically
about Levantine Schematic Art.
 Recognising the wide variety of graphic elements within a work of ar
 Using techniques and tools appropriately in artistic compositions.
Attitudes
 Demonstrating artistic taste when combining lines and dots in an expressive
and creative way.
 Showing appreciation for the artistic value of schematic painting in
prehistoric art.
 Showing interest in and appreciation for the combination of different
geometric forms used in abstract art.
 Accuracy in drawing outlines, and in reproducing interwoven patterns.
EVALUATION CRITERIA
classmates.
2. To interpret images, photographs and codes from the reality around us and
reproduce them in drawing.
3. To interpret and reproduce linear structures and interwoven patterns from our
natural and artificial surroundings.
4. To use graphic elements (lines and dots) to generate outlines, shapes and
different interwoven patterns.
5. To plan and organise an artistic composition using different shapes within a
given space.
66
6. To enjoy and appreciate the work by Pablo Palazuelo and to recognise the
importance of the variety of geometric shapes, straight lines and angles used in
it.
7. To recognise the artistic importance of the Levantine cave paintings and, in
groups, to look for information about them and their significance.
8. To draw lines, shapes and complex forms accurately.

SUBCOMPETENCES

one’s language.
Apply the actions that define 1 All
purposes.
criteria.
Manipulate basic 2, 3, 4, 5, 6, 7 p. 5-9, 13

Develop the ability to interact 2, 3, 5 p. 5-11, 13

transferring it.

67

Develop an open and critical 1, 2, 3, 4, 5, 6, 7, 8, 9 p. 10-13

Manage effort, self-assess 1, 2, 3, 4, 5, 6, 7, 8, 9 All
68
UNIT 2
COLOUR RANGE
OBJECTIVES
classmates.
2. To relate primary colours to their complements.
3. To experiment with different tones and colour ranges and appreciate the
importance of colour inour surroundings.
4. To learn how to use colour to create different shapes.
5. To become familiar with, and to recognise the importance of light and colour in,
some artistic works by Paul Cézanne.
6. To appreciate the artistic value of one’s own work and that of others.
7. To improve one’s level of skill in different artistic techniques and use them
appropriately.
CONTENTS
Concepts
- Colour tones and ranges.
- The relationship between colour and light.
- Achieving tonal diversity through the addition of black and white.
- Colour harmony and contrast.
- Representing volume through colour.

- Colour as a unifying and differentiating element in our surroundings.
- Mastery of the processes for obtaining particular colours.
- Conveying emotions through colour.
- The artistic and expressive value of colour.
- The importance of colour in art.

- Colour gradation.
- Representing volume using different techniques and tools
- Wax crayons. Pastels. Coloured pencils. Fine and thick felt-tip pens.
Coloured chalk. Plain paper. Scissors. Glue sticks. Card. Containers.
The Internet.
69
Procedures
 Using black or white to obtain darker or lighter tones of the original colour.
 Mixing different tones of the same colour on different palettes.
 Drawing using different tones of the same colour.
 Using light and shade to represent objects.
 Making use of the light-shade binomial to represent volume.
 Controlling the pressure applied to pencils and felt-tip pens when drawing
on paper and card.
 Applying colour using a variety of tools and techniques.
 Looking at how Paul Cézanne coordinated form and colour in his paintings
and applying the same technique to one’s own work.
 Making a drawing of the Ishtar Gate, copying from a model, and analysing
its decorative elements.
 Looking for information on the Internet about the art of Mesopotamia and
Babylon and the techniques and materials used in it.
 Understanding each of the steps involved in an artistic process and
following them in one’s own work.
Attitudes
 Appreciating the importance of colour in artistic works and making use of it
oneself.
 Attempting to apply the appropriate amount of pressure to tools when
drawing and colouring to achieve the desired effect.
 Demonstrating curiosity about and interest in Paul Cézanne’s landscape
paintings.
 Appreciating and analysing sensations conveyed through colour.
 Attempting to show colour harmony, contrast and proportion in one’s own
EVALUATION CRITERIA
classmates.
2. To apply colour using a variety of tools and techniques.
3. To combine and alternate primary colours and their complements correctly, in
order to complete a colour wheel.
4. To participate in an active and motivated way in the different activities related to
Paul Cézanne’s work.
5. To experiment with the relationship between light and colour when drawing
different objects.
6. To experiment with using colour when drawing different objects to create a
sense of volume.
7. To analyse the sensations conveyed through colour in different artistic works.
8. To work as a group to find out about art in Mesopotamia and Babylon.
70
9. To control the pressure applied to tools when drawing and colouring in order to
achieve the desired effect.
to improve.

SUBCOMPETENCES

Communicate thoughts, 1, 4, 8, 9, 10 All
coherent way.
Use specific vocabulary from 1, 4, 8, 9 All
one’s language.
Apply mathematical 3, 5, 7 p. 15-16, 18, 23



Recognise one’s own 1, 2, 3, 4, 5, 6, 7, 8, 9, 10 All
overcome weaknesses
success.
71

Comptenece in autonomy and personal initiative

72
UNIT 3
SIMPLE AND COMPLEX SHAPES
OBJECTIVES
classmates.
2. To appreciate that light, colour and form are generators of textures in pictorial
compositions.
3. To analyse different types of geometric shapes.
4. To recognise the axes of symmetry in different objects from our surroundings.
5. To appreciate the importance of form and its structure in artistic representations.
6. To appreciate formal simplicity as an element of great artistic value.
7. To become familiar with some architectural works from Classical Greece and
analyse their elements.
CONTENTS
Concepts
- Light, colour and shape as generators of texture.
- Visual and tactile textures.
- Types of shapes produced with lines and colour.
- Simple and complex geometric shapes.
- The structure of shape: the axes of symmetry.
- Visual texture in artistic works.
- Shapes and their organisation in works of art.
- Formal simplicity as an element of artistic value.

- Drawing as the main way of defining shapes.
- The geometric value of a shape’s structure.

- Pencils. Fine felt-tip pens. Plain paper. Rulers. Pastels.
Procedures
 Making use of different visual textures in artistic works.
 Representing complex groups of shapes.
 Discriminating between natural and artificial shapes.
 Representing different textures.
 Drawing objects taking their axes of symmetry as a starting point.
73
 Accuracy in drawing simple geometric shapes.

 Drawing a front and side view of the Nefertiti Bust.
 Observing and analysing the sculptures of the Caryatids from the
Erechtheion.
 Looking for and selecting information about, and pictures of, Ancient Greek
art on the Internet
 Making Christmas decorations for the classroom, applying the techniques
learned in the unit.
Attitudes
 Demonstrating artistic taste when combining shapes and colours in an
expressive and creative way.
 Showing appreciation for the artistic value of the diversity of forms and
textures that exist.
 Valuing the formal simplicity of the Nefertiti Bust and appreciating that it is
itself an element of great artistic value.
 Demonstrating curiosity about and interest in artistic works from antiquity.
 Evaluating and analysing the sensations conveyed through shape and
texture.
 Appreciating cultural differences through art.
EVALUATION CRITERIA
classmates.
2. To identify and discriminate between the different shapes and textures in
objects from our surroundings.
3. To generate different types of visual textures in one’s drawings.
4. To make drawings of different objects and geometric shapes taking the axis of
symmetry as a starting point.
5. To appreciate the artistic value of formal simplicity by observing and analysing
the Nefertiti Bust.
6. To observe and analyse the artistic and sculptural features of the Caryatids.
7. To work as a group to find information about the Erechtheion and other
architectural works from Classical Greece.
8. To value the importance and significance of shapes and forms in different works
of art.
9. To represent simple and complex groups of shapes following a model.
10. To apply the techniques practised in the unit correctly.
to improve.
74

SUBCOMPETENCES

Communicate simple 1, 5, 6, 7 All
writing.
one’s language.
Apply the actions that define 1, 5, 6, 7, 12 All
purposes.
Identify and organise objects 2, 4, 9 p. 25-30, 33
criteria.
Manipulate basic 2, 3, 4, 5, 6, 9 All

Use information and 7 p. 31-32
communication technologies
to generate and transmit
information, taking into
account the previously-
established aims and
objectives of learning, work
and leisure activities.

Develop an open and critical 2, 5, 6, 7, 8 All
75
Gain knowledge of the main 5, 6, 7, 8, 10 All


Develop skills for obtaining 1, 2, 3, 4, 5, 6, 7, All
information and assimilating it 8, 9, 10, 11, 12

76
WORKSHOP 1
A COLOURFUL WINDOW
OBJECTIVES
1. To learn the vocabulary from the workshop and use it when talking to the
teacher and classmates.
2. To learn about the historical significance and purpose of stained-glass windows.
out the workshop activity.
4. To experiment with combining different colours to make a harmonious
composition.
5. To participate in the group activities of the workshop.
6. To develop confidence in one’s own ability to make artistic compositions and
value the contribution of others.
CONTENTS
Concepts
- Interwoven patterns as generators of outline and form.
- Colour variation as a means of representing volume.
- Organising shapes within space.
- Harmony and contrast.

- Drawing as a way of representing one’s surroundings.
- Colour as a unifying and differentiating element in the reality around us.

- Interwoven patterns.
- Brown craft paper. Scissors. Glue sticks. Paintbrushes. PVA glue.
Poster paints. Chalk.
Procedures
 Learning the vocabulary used in the workshop and throughout the term.
 Learning about the history and purpose of stained-glass windows.
 Analysing the features of a Romanesque arch window and designing a
window frame in this style.
 Using different tones to represent volume and light in the various elements
that make up the window frame.
77
 Organising puzzle pieces within the fixed space of the window frame.
appropriately.
composition.
 Using the metaphor of a puzzle to reflect, as a group, on the importance of
collaboration and mutual respect.
Attitudes
introduced in the activity and throughout the term.
 Recognising and appreciating artistic works around us from other eras.
 Showing artistic taste when combining different colours.
 Valuing the importance of harmony and contrast.
 Demonstrating awareness of the importance of a variety of artistic elements
in a work of art.
EVALUATION CRITERIA
1. To use the vocabulary from the workshop when talking to the teacher and
classmates.
2. To value the practical and aesthetic importance of stained-glass windows and
reproduce their main features in a group composition.
3. To follow the different steps and techniques needed to represent the stained-
glass window.
4. To show an understanding of harmony and contrast when joining the puzzle
pieces.
5. To demonstrate precision when carrying out the various tasks involved in
making the composition.
attitude.
9. To present the artistic composition in a neat and appropriate manner

SUBCOMPETENCES

Communicate simple 1, 7, 8 All
writing.
78
Use specific vocabulary from 1, 8 All

one’s language.
Identify and organise objects 2, 3, 4, 5, 9 p. 35, 38
criteria.

Participate actively and 2, 4, 7, 8 p. 35, 37-38

Demonstrate the desire and 2, 3, 4, 5, 9, 10 p. 35, 37-38
Gain knowledge of the main 2, 3, 4, 5, 6 p. 35, 37-38

Learn from others and with 2, 4, 7, 8 p. 35, 37-38
others.
Recognise one’s own 3, 5, 6, 10 p. 35, 37-38
generate a sense of

Analyse possibilities and 3, 7, 10 All
limitations; know the stages
of development of a project;
plan; make decisions and
assume risks.
Demonstrate assertiveness 7, 8 p. 35, 38
negotiate.
79
UNIT 4
LIGHT AND VOLUME
OBJECTIVES
classmates.
2. To recognise light and colour variation as means of representing volume.
3. To appreciate the importance of light as a generator of tone and contrast.
4. To understand the relationship between light and shade in generating three-
dimensional spaces.
5. To become familiar with some of Murillo’s works and to analyse his use of light
as a way of generating space.
6. To recognise the characteristic features of Romanesque architecture.
CONTENTS
Concepts
- Light as a way of generating tone and contrast.
- Form and volume, factors that complement each other in visual
language.
- The expressive qualities of volume.
- The light-shade binomial.
- Colour gradation as a means of representing volume.
- Light and focus in artistic creations.
- The representation of light through the absence of colour.

- Drawing animals.
- Making use of the intensity and thickness of lines to represent volume.
- Light within works of art.
- The use of light and shade to represent three-dimensional spaces.

- Chess set. Pencils. Wax crayons. Drink cans. Squared paper. Felt-tip
pens. Blending stick.
80
Procedures
 Observing and analysing the effect of light on the surface of different objects
and spaces.
 Recognising the role of light as an element that generates a spatial
dimension.
 Observing and analysing shapes, and how volume is represented in them.
 Observing and analysing the expressive qualities of volume in the
representation of objects.
 Using lines of different intensity and thickness to represent volume in
drawings.
 Looking at and analysing Murillo’s works and using the chiaroscuro
technique to represent the contrast between light and shade.
 Making drawings, colouring in architectural and decorative elements and
paying particular attention to light and volume.
 Looking for and analysing information about Romanesque architecture, and
about the church of San Martín de Frómista.
 Practising using colour gradation, the light-shade binomial and the depiction
of reflected light in pictures of metallic surfaces and objects made out of
links: necklaces, chains, bracelets, belts, etc.
Attitudes
 Making an effort to represent different three-dimensional volumes.
 Showing curiosity about experimenting with the reflections of light on objects
and shapes from our surroundings.
 Appreciating the importance of light in artistic works.
 Appreciating the importance of light and shade and of reflections of light in
works by Murillo.
 Showing an interest in and curiosity about Romanesque architecture, in
particular, the church of San Martín de Frómista.
 Appreciating the value of cooperation in creating a better, fairer society.
 Valuing one’s own work and that of others.
EVALUATION CRITERIA
classmates.
2. To apply a range of tones and colours to represent volume in different objects.
3. To use light, shade and shape to represent volume in a series of drawings.
4. To apply different amounts of pressure to drawing tools to alter the intensity and
thickness of lines and so represent volume in drawings.
5. To identify the different effects that light produces on objects and reflect them in
one’s own artistic compositions.
6. To experiment with the relationship between light and shade to represent
spaces and three-dimensional objects.
7. To work as a group to analyse the importance of light and shade in various
works by Murillo.
81
8. To look for and select images of the Romanesque church of San Martín de
Frómista and to make sketches of some of them.
9. To draw three-dimensional spaces combining light and shade.
to improve.

SUBCOMPETENCES

writing.
Communicate thoughts, 1, 5, 7, 11 p. 44-46
coherent way.
Use specific vocabulary from 1 p.39-44, 47
one’s language.
Apply mathematical 2, 3, 4, 5, 7, 9 p. 39-44, 47

transferring it.

Develop an open and critical 2, 3, 4, 5, 6, 7, 8, 9, 10 All
82


83
UNIT 5
THE WAY WE SEE THINGS
OBJECTIVES
classmates.
2. To understand the importance of gaining a global vision of graphic space and a
good understanding of proportion.
3. To recognise the importance of framing as a way of organising graphic spaces.
4. To learn to use a grid when drawing objects.
5. To gain awareness of the influence of mathematics on artistic works.
CONTENTS
Concepts
- Utilising graphic space: its distribution and structure.
- The grid.
- Framing as an aid in composing artistic works.
- Global vision of graphic (two-dimensional) space and understanding of
dimensions.
- Influence of mathematics on artistic works.

- Representing an object from different points of view.
- The value of schematic representation.
- Using graphic space as a means of expression and communication.
- The conceptual content of works of art.

- Photographs. Wax crayons. Fine felt-tip pens. Squared paper. Boxes
and cardboard objects. Cellophane. Poster paints. Paintbrushes.
Procedures
 Drawing sketches, making use of the outlines provided and paying careful
attention to the representation of light and shade.
 Using a grid to organise graphic space and as a starting point for
representing objects and human figures.
 Representing an object from different points of view.
 Understanding the relationship between the dimensions of the graphic
space and the size of the images represented within it.
 Analysing the pose and sculptural elements of the Winged Victory of
Samothrace, and discussing their significance.
84
 Looking for and analysing information about Moorish art.

 Recognising the importance of mathematics and geometry in Moorish art.
 Making drawings on a particular topic, idea or feeling, of one’s own free
choice.
 Discussing one’s choice of subject with other students and explaining it to
them.
Attitudes
 Demonstrating interest in the distribution of objects in a series of drawings.
 Using grids carefully to represent objects and figures from different
perspectives.
 Demonstrating artistic taste when using the techniques learned in the unit to
fill the graphic space.
 Recognising that reflection and planning are essential elements in the
 Demonstrating curiosity about and interest in the important role of
mathematics in Moorish art.
 Appreciating the aesthetic qualities of works of art from different periods.
EVALUATION CRITERIA
classmates.
2. To draw sketches, making use of the outlines given and paying careful attention
to the grid and to the representation of light, shade and decorative details.
3. To use a grid appropriately to represent objects and figures from different points
of view.
4. To take care in presenting the relative proportions of the graphic space and the
size of the images represented on it.
5. To appreciate the influence of mathematics on art by analysing the structure of
shapes in the façade of Buckingham Palace and in the geometric decorative
elements of the Alhambra.
6. To draw objects and human figures from a model, within a particular space and
frame, paying attention to proportions and tonal gradation, and using
techniques such as smudging.
7. To draw sketches on a topic, idea or feeling, which has been chosen freely, and
explain one’s choice of subject to others.
to improve.
85

SUBCOMPETENCES

Communicate thoughts, 1, 5, 7, 9 P. 54-57
coherent way.
Use specific vocabulary from 1, 2, 3, 4, 5, 6, 7 All
one’s language.
Manipulate basic 2, 3, 4, 5, 6 p. 50, 55-56

Develop the ability to interact 2, 3, 4, 5, 6 p. 49-53

Develop an open and critical 5, 6, 7 All
86


overcome weaknesses
success.
Apply new knowledge and 1, 2, 3, 4, 5, 6, 7, 8 All

87
UNIT 6
SET SQUARES
OBJECTIVES
classmates.
2. To appreciate the importance of line in representing perspective.
3. To become familiar with the characteristic elements of technical drawing.
4. To recognise and use the fundamental constituents of the representation of
movement.
5. To learn to represent simple geometric shapes in perspective.
6. To become familiar with the work of Mantegna and to reproduce part of one of
his works.
7. To value the artistic importance of Raphael and his works to the Renaissance.
CONTENTS
Concepts
- The importance of line in representing perspective.
- Visual and graphic perspective.
- The vanishing point.
- Representing objects in motion, taking their structure as the starting
point.
- Different planes within artistic works: the relative sizes of objects.
- Different ways of representing perspective in works of art.

- Drawing as the link between proportion and the representation of depth.
- Simplicity in representing perspective.
- Drawing parallel and perpendicular lines.
- Proportions in a work of art.
- Order in the process of artistic creation.

- Painting techniques.
- Pencils. Rulers. Wax crayons. Fine and thick felt-tip pens. Set squares.
The Internet.
Procedures
Learning the vocabulary used in the unit.
Following the correct order in artistic works.
Looking at and analysing aspects of the representation of movement.
88
Using lines and vanishing points to represent perspective in drawings.

Representing an object in motion, taking its structure as the starting point.
Understanding how perspective, movement and proportion are represented in
the figures observed.
Drawing simple geometric shapes in perspective.
Looking at and analysing the graphic elements, especially proportion, present
in The Lamentation over the Dead Christ by Mantegna.
Looking at and analysing The School of Athens by Raphael (the architecture,
organisation, details of the figures represented, etc.).
Looking for information about the Renaissance and presenting it to the class.
Looking for pictures of, choosing and analysing other Renaissance works of ar.
Making drawings of simple geometric shapes, colouring each element and
copying the models as faithfully as possible.
Attitudes
Making an effort to use, and showing an interest in, the vocabulary introduced
in the unit
Drawing graphical elements with precision.
Recognising and appreciating artistic works around us.
Demonstrating curiosity about and interest in getting to know and
experimenting with different artistic techniques.
Appreciating the importance of following the correct order in the production of
artistic works.
Recognising the value of Andrea Mantegna’s representation of perspective in
The Lamentation over the Dead Christ.
Demonstrating curiosity about and interest in The School of Athens by
Raphael.
Demonstrating curiosity about and interest in finding out about the
Renaissance and Renaissance artists.
Confidence in one’s own artistic abilities
Attempting to experiment with and use the techniques and materials from the
unit appropriately.
Participating actively in group work.
Using working tools and materials carefully and accurately.
EVALUATION CRITERIA
classmates.
2. To draw objects which have simple geometric shapes from different points of
view, using techniques and tools from technical drawing.
3. To represent objects in motion, taking line and the structure of the objects as a
starting point.
4. To draw parallel and perpendicular lines to represent simple geometric shapes
in perspective.
5. To follow a pre-determined order in the production of artistic compositions.
6. To appreciate the use of perspective in art and its importance by looking at and
analysing different works of art.
7. To reproduce pictures based on Mantegna’s painting, respecting the
proportions given in the model.
8. To look for information about the Renaissance and Renaissance artists, and to
discuss this information with the rest of the class.
9. To present one’s artistic works in a neat and appropriate manner.
89
to improve.

SUBCOMPETENCES

Speak, listen and participate 1, 6, 8 All
Use specific vocabulary from 1, 2, 3, 4, 5, 6, 7, 8 All
one’s language.
Process information from oral 8 p. 65-66
Identify and organise objects 2, 3, 4 All
criteria.
Manipulate basic 2, 3, 4, 6, 7, 8 p. 59-60, 62-67

Communicate acquired 1, 6, 7, 8 p. 64-67
and communication

operating rules of the group

Demonstrate the desire and 2, 3, 4, 5, 6, 7, 8 All
90

Competence in leraning how to learn


91
WORKSHOP 2
LET’S BUILD A CASTLE
OBJECTIVES
1. To learn the vocabulary from the workshop and use it when talking to the
teacher and classmates.
2. To apply the knowledge and skills gained during the term to plan and create a
mural.
3. To use the techniques necessary to do the work.
4. To participate in the group activity of the workshop actively.
6. To value the importance of group effort and collaboration, and its impact on the
outcome.
CONTENTS
Concepts
- Form and volume, factors which complement each other in visual
language.
- Graphic space: distribution and structure.
- Relation between the dimensions of the surface and the size of the
images represented within it.

- Drawing as a way of representing one’s surroundings.
volume.
- The graphical and the conceptual aspects of a work of art.

- Light and focus in artistic work.
- Ruler. White and brown craft paper. Card. Glue stick. Scissors.
Paintbrushes. PVA glue. Poster paints. Pastels. Adhesive tape.
Procedures
 Learning the vocabulary used in the workshop and throughout the term.
 Using the construction of the castle as a means of conveying the
importance of collaboration.
 Analysing the features of a castle and how to represent them.
 Representing an idea in three dimensions.
92
 Depicting spaces using light to create the sensation of three dimensions.

 Representing the proportions of the different features of the mural
accurately.
appropriatel.
 Understanding and following each of the steps required to assemble the
various elements of the mural.
Attitudes
introduced in the workshop and throughout the term.
 Showing artistic taste when combining different colours and drawings.
 Appreciating constructions from different eras.
 Appreciating the contributions of different tradespeople in the building of
castles.
 Taking good care of materials and tools.
in a work of art.
 Showing confidence in one’s own artistic abilities.
 Valuing effort and teamwork and appreciating that these aspects are
fundamental to a successful outcome.
EVALUATION CRITERIA
1. To use the vocabulary from the workshop when talking to the teacher and
classmates.
2. To draw the main features of a castle (stone blocks, drawbridge/door, slits) and
its surroundings (sky) on a large piece of craft paper.
3. To follow the different steps and techniques needed to make the mural, using
the appropriate materials and tools.
4. To cut out, organise and stick down the different elements that make up this
artistic composition with precision.
6. To participate actively in the workshop activity, working as a team to achieve
the desired outcome.
workshop activity.
93

SUBCOMPETENCES

writing.
one’s language.
Identify and organise objects 4, 8 p. 69, 71-72
criteria.

Develop the ability to interact 2, 3, 4, 5, 6, 8 p. 71-172

Participate actively and 1, 2, 3, 4, 5, 6, 7, 8, 9 All


Recognise one’s own 6, 7, 9 p. 69, 71-72
overcome weaknesses
success.
Learn from others and with 1, 2, 3, 4, 5, 6, 7, 8, 9 All
others.
94

negotiate.
95
UNIT 7
ARTISTIC MESSAGES
OBJECTIVES
classmates.
2. To use line and colour in representational drawing.
4. To understand proportion as a necessary element of the structure of the human
figure.
5. To develop one’s skills in using set squares, a ruler and a compass to draw
geometric shapes.
6. To become familiar with Bernini’s work and his way of representing the human
figure.
7. To become familiar with a significant work of art by Rembrandt and to analyse
the main elements of tenebrism
CONTENTS
Concepts
- Line and colour.
- Representing the proportions of the human figure and other objects.
- The volume of the human figure.
- The human figure as a central subject in works of art.
- Creating compositions using a predetermined structure as a starting
point.

- Drawing as a narrative device.
- Abstraction as a link between different planes of reality.
- The human figure in the history of art.

- Tenebrism.
- Pencils. Wax crayons. Felt-tip pens. 45º set square. 30º-60º set square.
Ruler. Compass. Scissors.
Procedures
 Using line and colour in images.
 Following the correct order in the production of artistic works.
96
 Observing and analysing different aspects of the representation of the

human figure and other objects.
 Identifying and using some technical drawing procedures.
 Using set squares and compass to draw geometric shapes.
 Recognising the geometric structure of objects.
 Looking at and analysing Bernini’s David.
 Looking at The Anatomy Lesson of Dr. Nicolaes Tulp by Rembrandt and
analysing its features.
 Looking for information about and examples of Baroque art.
 Analysing the main characteristics of tenebrism and recreating this style in
original compositions.
Attitudes
 Developing an interest in the different expressions of conceptual art.
 Making an effort to experiment with and use a variety of materials.
 Valuing the importance of following an order in the production of artistic
works.
 Appreciating the human figure as a central subject in artistic works.
 Demonstrating an interest in Bernini’s work and the story behind his
sculpture David.
 Showing an interest in analysing the The Anatomy Lesson of Dr. Nicolaes
Tulp, by Rembrandt, and finding out about tenebrism.
 Understanding the need to use a compass when drawing circles.
 Taking care of one’s own materials and tools.
EVALUATION CRITERIA
classmates.
2. To use the techniques learned in the unit to draw the human figure and other
objects.
3. To appreciate the role of the human figure as a central subject in artistic works.
4. To use appropriate tools and techniques to represent proportion and volume in
5. To demonstrate an understanding of how to use set squares, a ruler and a
compass to create artistic compositions.
6. To produce images, taking Bernini’s David as a starting point, and to discuss
the story behind the sculpture.
7. To analyse the features of Rembrandt’s painting and describe the main
characteristics of tenebrism.
8. To find and present information about the Baroque era.
9. To present one’s work in a neat and appropriate manner
to improve.
97

SUBCOMPETENCES

Speak, listen and participate 1, 2, 3, 4, 5, 6, 7, 8, 9, 10 All
Use specific vocabulary from 1, 2, 3, 4, 5, 6, 7, 8, 9, 10 All
one’s language.
Find information in different 7, 8 p. 78-80
media (print and digital)
and use it in projects related
to different subject areas.
Identify and organise objects 2, 4, 5, 6 p. 73-74, 77-78, 81
criteria.
Manipulate basic 2, 4, 5, 9 p. 73-77, 81

Understand and make use of 1, 2, 3, 4, 5, 6, 7, 8, 9 All
transferring it.
Communicate acquired 6, 7, 8 p. 78-80
and communication

Participate actively and 1, 6, 7, 8 p. 76-81
98

Gain knowledge of the main 1, 2, 3, 4, 5, 6, 7, 8, 9 All
and expressive forms
from our cultural heritage.

Manage effort, self-assess 1, 2, 3, 4, 5, 6, 7, 8, 9, 10 All

Make personal choices, 10 All
design projects, set goals,
redesign previous
approaches and produce new
ideas.
99
UNIT 8
THE ART OF THE ORDINARY
OBJECTIVES
classmates.
2. To understand that artistic elements generate different ways of representing
reality
4. To foster the skills required for developing aesthetic criteria and judgement.
5. To develop one’s skills in using a compass and set squares to create
compositions.
6. To discover the presence of art in different settings.
7. To read and interpret images from one’s artistic heritage and that of other
cultures.
8. To become familiar with the painting The family of Charles IV, by Francisco de
Goya, and analyse its main features.
9. To gain knowledge of Impressionism through the analysis of Claude Monet’s
work and that of other Impressionist painters.
10.To use appropriate techniques when using tools.
CONTENTS
Concepts
- Artistic elements as generators for different ways of representing reality.
- Representing volume in artistic works.
- Introduction to different artistic styles.
- Art and design.

- Drawing as a framework and support in artistic works.
- The concept of an artistic work.
- Artistic work as the result of the perfected conjunction of various artistic
elements.

- Impressionism.
- Pencils. Wax crayons. Felt-tip pens. Pastels. Ruler. Compass. Set
squares. Scissors. Glue stick.
Procedures
 Using a compass and set squares in artistic compositions.
100
 Constructing the perpendicular bisector of a line segment.

 Recognising the structure of objects.
 Planning one’s own work of art.
 Creating compositions drawing inspiration from different everyday settings.
 Reading and interpreting images from one’s artistic heritage and that of
other cultures.
 Looking for information about Impressionism and Impressionist painters.
 Looking at paintings by Monet and analysing their feature.
 Creating compositions drawing inspiration from works of art.
Attitudes
 Showing confidence in interpreting images.
 Demonstrating accuracy and neatness in drawing and in using materials.
 Appreciating the influence that Goya and Monet had on their
contemporaries and have had on subsequent artists.
 Demonstrating an interest in Goya and his significance as a portrait artist.
 Showing an interest in analysing Monet’s work, and finding out about
Impressionism.
 Taking care of materials and tools.
EVALUATION CRITERIA
classmates.
2. To use different artistic techniques to generate different ways of representing
the same object.
3. To read about and interpret images of artistic works from different periods,
styles and cultures.
4. To use set squares, a ruler and a compass to create artistic compositions.
5. To create artistic compositions based on works of art of different styles and
from different cultures.
6. To recognise the structure of the objects depicted in different works of art.
7. To analyse the features of Goya’s painting and glean information from it about
the society of the time.
8. To find information about Impressionism and discuss it in class
101

SUBCOMPETENCES

Use specific vocabulary from 1, 2, 3, 4, 5, 6, 7, 8, 9 All
one’s language.
Apply the actions that define 1, 3, 8 All
purposes.
criteria.
Manipulate basic 4, 5, 6 p. 84, 86-87, 91

Communicate acquired 1, 3, 7, 8 p. 86, 89-90
and communication

Participate actively and 1, 2, 3, 4, 5, 6, 7, 8, 9 All

Demonstrate the desire and 2, 4, 5 All
102

of the most significant
works and expressive forms
from our cultural
heritage.

Learn from others and with 1, 2, 3, 4, 5, 6, 7, 8 All
others.

possibilities for
improvement.
103
UNIT 9
ART AND COMMUNICATION
OBJECTIVES
classmates.
2. To understand the role of line, form and colour in the field of advertising.
3. To learn the value of new technologies in artistic works.
4. To recognise perspective as a feature that enriches advertising images.
5. To develop aesthetic criteria when looking at advertising.
6. To recognise new aesthetic and artistic codes.
7. To analyse the links between advertising and consumer goods.
8. To become familiar with Andy Warhol’s work and analyse the main features of
the Pop Art movement.
9. To analyse the way in which images from the mass media have been applied to
the visual art.
10.To use appropriate techniques when using tools.
CONTENTS
Concepts
- The importance of line, form and colour in the field of advertising.
- Perspective as an enriching element in advertising images.
- The role of everyday objects in the fields of journalism and advertising.
- Creativity and originality in generating designs.
- The presence of new technologies in artistic works.

- Representational drawing as a basic element in advertising images.
- New aesthetic and artistic codes.
- Developing aesthetic criteria when looking at advertising.

- Pop Art.
- Pencils. Wax crayons. Felt-tip pens. Ruler. Compass. Set squares.
Procedures
 Representing everyday objects.
 Looking at and analysing different forms of advertising design.
 Using line, form and colour in advertising works.
 Experimenting with different materials and using ICT to create artistic
compositions.
104
 Designing items as they were in the past, as they are today, and as they
might be in the future.
 Drawing a square inscribed in a circle.
 Looking at a painting by Equipo Crónica and analysing and reproducing its
key elements.
 Discovering works of art by Andy Warhol, and finding out about and
analysing the Pop Art movement.
 Discussing the link between advertising and consumer goods
 Producing original designs in the Pop Art style.
Attitudes
 Appreciating the artistic value of everyday objects.
 Showing curiosity towards new aesthetic and artistic codes.
 Valuing the importance of line, form and colour in advertising.
 Demonstrating an interest in analysing the composition of Equipo Crónica’s
version of Picasso’s Guernica.
 Appreciating the importance of responsible consumption.
 Taking care of materials and tools.
 Demonstrating accuracy and neatness in drawing and in using materials.
EVALUATION CRITERIA
classmates.
2. To recognise and apply the new aesthetic and artistic codes present in
advertising designs.
3. To use new technologies in artistic works.
4. To create original compositions using the techniques learned in the unit.
5. To demonstrate an understanding of line, form and colour as elements that can
be used to attract attention.
6. To analyse Equipo Crónica’s interpretation of Guernica and reproduce its key
elements.
7. To find information about Andy Warhol and the Pop Art movement and, in
groups, reproduce this style.
8. To understand the purpose of advertising and the importance of responsible
consumption.
to improve.
105

SUBCOMPETENCES

Speak, listen and participate 1, 7 All
one’s language.
Process information from oral 1, 7, 8 All
Apply mathematical 2, 3, 5 p. 93-94, 97

Demonstrate critical thinking 2, 5, 7, 8 p. 93-94, 96, 99-101
in the observation of reality,
the analysis of informational
and advertising messages,
and the adoption of
responsible consumer habits
in daily life.

Communicate acquired 1, 3, 6, 7 p. 95, 98-101
and communication


106


generate a sense of

Demonstrate assertiveness 1, 4, 7, 9 All
negotiate.
107
WORKSHOP 3
WE ARE SCULTORS
OBJECTIVES
1. To consolidate the vocabulary learned throughout the year.

2. To raise awareness that our natural resources are limited and encourage reuse
and recycling.
out the workshop activity.
4. To work as a team to design and create a sculpture.
5. To develop confidence in one’s own ability to make artistic compositions and
value the contributions of others.
CONTENTS
Concepts
- Line and colour.
- Organising shapes within space.
- Art and design.

- Drawing as the basic framework for a work of art.
- Line and colour in representational drawing.
- Order in the production of artistic works.

- Sculpture.
- Pencils. Packaging materials. White craft paper. Adhesive tape.
Paintbrushes. PVA glue. Poster paints.
Procedures
 Learning the vocabulary used in the workshop and throughout the year.
 Discussing the use of natural resources and how we can preserve them for
future generations.
 Experimenting with and using a variety of materials.
appropriately.
 Making shared decisions about the shape and structure of the sculpture.
 Assembling a three-dimensional structure as a group.
 Using aesthetic criteria to decorate the sculpture.
108
composition.
 Discovering the presence of art in different settings.
Attitudes
introduced in the activity and throughout the year.
 Recognising and appreciating artistic expressions around us.
 Showing artistic taste when combining different shapes and colours.
 Reflecting on the concept of a work of art.
 Valuing creativity.
 Taking good care of materials and tools.
in a work of art.
EVALUATION CRITERIA
1. To use the vocabulary from the workshop and recycle expressions learned
throughout the year.
2. To demonstrate awareness of the importance of reusing and recycling our
limited natural resources.
3. To make the appropriate decisions in the planning stage of the activity.
4. To follow the different steps and techniques needed to make the sculpture.
5. To use aesthetic criteria when assembling and decorating the sculpture.
attitude.
workshop activity.

SUBCOMPETENCES

one’s language.
Communicate and enter into 1, 7, 8 All
dialogue with those around
one, with the aim of
establishing links and building
constructive relationships.
109
Identify and organise objects 3, 4, 5, 9 p. 105-106
criteria.

Recognise the importance of 2 All
the fact that all human beings
benefit from progress and
that progress should preserve
natural resources and
diversity.

Participate actively and 3, 4, 7, 8 p. 103, 105-106

Demonstrate the desire and 5, 9, 10 All

Learn from others and with 1, 2, 3, 4, 5, 6,7, 8, 9, 10 All
others.
Recognise one’s own 10 All
generate a sense of

Analyse possibilities and 3, 4, 8, 10 All
limitations; know the stages
of development of a project;
plan; make decisions and
assume risks.
Demonstrate assertiveness 7, 8, 10 All
negotiate.
110
111

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ARTS AND CRAFTS

(PROJECT LOOK AND THINK)

MATERIALS FOR THE OXFORD EDUCACIÓN PROJECT 3

OBJECTIVES, EVALUATION CRITERIA 6

THIRD CYCLE PROGRAMMES 15

Sixth grade unit programmes 64

The objective of Education in Art is to develop in children the ability to express

MATERIALS FOR THE OXFORD EDUCACIÓN PROJECT

At the end of each term, there is a workshop, which is an extended activity

Overview of Pupil’s Book features

The core units

THE TEACHER’S BOOK

It is organised into nine units, three workshops and three appendices.

Each unit is divided into three sections:

 The programme and the basic competences covered in the unit.

The end-of-term workshops are divided into the following sections:

 The objectives of the workshop.

Appendices 1 and 2 provide photocopiable Reinforcement and Extension

The Resources CD contains:

 Curriculum guidance and information

HOW TO DELIVER A TEACHING UNIT

Programme of study for the unit

Teaching notes for each worksheet in the Pupil’s Book

Each page of the Teacher’s Book contains a reproduction of the corresponding

An Assessment chart is provided at the end of each unit of the Teacher’s

 Space to write the names of each member of the class.

 A high-resolution reproduction of the work of art presented on the sixth

OBJECTIVES, EVALUATION CRITERIA

OBJECTIVES FOR THE AREA OF EDUCATION IN ART, AS SET OUT IN THE

1. To analyse the artistic and expressive possibilities of natural features and of

EVALUATION CRITERIA FOR THE AREA OF EDUCATION IN ART (ARTISTIC

The EU defines the term basic or key competence as “a combination of skills,

The Spanish curriculum, adapted to the specific circumstances and characteristics of

The selection of different types of contents —concepts, procedures and attitudes—

Measuring competences is a good indicator of the quality of the education system. In

Basic competences and subcompetences

BASIC COMPETENCES / UNITS

Competence in linguistic 1, 2, 3, W1, 4, 5, 6, W2, 7, 8, 9, W3

Mathematic competence 1, 2, 3,W1, 4, 5, 6, W2, 7, 8, 9

simulations of daily life.

Apply mathematical information to different 2, 4, 5, 9,

Competence in knowledge and 1, 5, 6, W2

Processing information and digital 1, 3, W1, 4, 6, 7, 9

Social competence and citizenship 1, 2, W1, 5, W2, 9, W3

Cultural and artistic competence 1, 2, 3, W1, 4, 5, 6, W2, 7, 8, 9, W3

Competence in learning how to learn 1, 2, 3, W1, 4, 5, 6, W2, 7, 8, 9, W3

Competence in autonomy and 2, 3, W1, 4, 5, 6, W2, 7, 8, 9, W3

BASIC COMPETENCES / UNITS

Competence in linguistic 1, 2, 3, W1, 4, 5, 6, W2, 7, 8, 9, W3

Apply the actions that define linguistic 1, 3, 8

Mathematic competence 1, 2, 3, W1, 4, 5, 6, W2, 7, 8, 9, W3

Competence in knowledge and 1, 5, W2, 9, W3

Processing information and digital 1, 3, 4, 6, 7, 8, 9

Social competence and citizenship 1, 2, W1, 6, W2, 7, 8, 9, W3

Cultural and artistic competence 1, 2, 3, W1, 4, 5, 6, W2, 7, 8, 9, W3

Competence in learning how to learn 1, 2, 3, W1, 4, 5, 6, W2, 7, 8, 9, W3

Competence in autonomy and 2, 3, W1, 4, 5, 6, W2, 7, 8, 9, W3

Demonstrate assertiveness and flexibility, as W1, W2, 9, W3

FIFTH GRADE UNIT PROGRAMMES

LOOK AROUND YOU

 Drawing as a visual language

 Techniques and materials

BASIC COMPETENCES / EVALUATION CRITERIA / ACTIVITIES