Planning for Production

Overview

In this 18th lesson of 30, students move from developing ideas to planning the production of their final whakairo pieces. They will clarify their intention, identify appropriate processes and cultural protocols, sequence practical steps, estimate time, and specify resources so their plan is achievable and respectful.

Learning intentions

• WALT develop a realistic production plan for a resolved whakairo work.
• WALT sequence processes, techniques and decisions from preparation through completion.
• WALT identify the tools, materials, skills, advice and cultural protocols required.
• WALT explain how our plans demonstrate responsible practice and control of skills.

Success criteria

• I can state the intention and cultural context of my proposed work.
• I can organise production steps in a logical sequence with achievable timeframes.
• I can identify the resources, techniques, safety considerations and support I need.
• I can explain how my plan respects the conventions and protocols relevant to my chosen practice.

Curriculum links

• Produce a resolved work that demonstrates control of skills appropriate to cultural conventions, including management of media according to an intention.
• Produce a systematic body of work that shows understanding of art-making conventions and ideas within sculpture, through the generation and development of related work.
• Demonstrate understanding of methods and ideas from established practice appropriate to painting where students are using painted whakairo elements or surface treatment.
• Key competencies: thinking; managing self; relating to others; participating and contributing.

Lesson structure (120 minutes)

1. 0–10 min · Reconnect and focus. Teacher opens with the hook and learning intentions and displays a photograph or drawing of a finished whakairo work beside an unfinished work, asking, “What decisions must happen between an idea and a resolved work?” Students revisit their previous concept development, identify their current stage, and write one production question they need answered.

2. 10–25 min · Model a production plan. Teacher uses the planning model and process sequence to model planning a small hypothetical piece, thinking aloud about intention, scale, material, cultural context, preparation, carving or construction, surface treatment, drying, documentation and presentation. Emphasise that whakairo is not simply a decorative style: students must work from an informed understanding of the practice, acknowledge sources, avoid copying protected designs without guidance, and seek advice from the appropriate kaiako, kaumātua or cultural adviser where relevant. Students annotate the model and distinguish a vague intention from a specific, achievable one.

3. 25–40 min · Analyse readiness and constraints. Teacher distributes the whakairo production planning worksheet and guides students through the readiness audit: current design, intended meaning, cultural references, material suitability, available tools, skill confidence, safety risks, workspace, deadlines and required feedback. Students complete the audit independently, then discuss one constraint and one possible solution with a partner. Teacher conferences briefly with students whose proposed scale, material or timeframe is unrealistic.

4. 40–70 min · Draft the production plan. Teacher directs students to complete the main planning sections of the whakairo production planning worksheet, referring back to the planning steps and protocol reminders as required. Students produce a dated, sequenced plan covering preparation and marking out; transferring or refining the design; making and refining; surface treatment or finishing; feedback and revisions; documentation; and final presentation. Each step must include an estimated duration, required resources, technique or skill, quality check and contingency. Students should include planned teacher or adviser feedback rather than treating feedback as an afterthought.

5. 70–100 min · Peer review and revision. Teacher displays the peer-review questions and success criteria and establishes a respectful critique process: describe, ask, suggest. Students exchange plans with a partner who checks whether the intention is clear, the sequence is logical, the time estimates are realistic, the resources are available, and cultural protocols have been considered. Reviewers write two strengths and two precise questions or suggestions. Students then revise their own plans in a different colour, recording any advice they accept and why.

6. 100–115 min · Teacher checkpoint and commitment. Teacher conducts rapid individual checkpoints, prioritising students who need approval for materials, tools, scale, cultural references or safety arrangements. Students present their plan in a 30-second conference, identify their first practical action, and record one risk and its control. Plans that require cultural clarification are marked “seek guidance before proceeding”; students do not begin making until this has been addressed.

7. 115–120 min · Exit reflection. Teacher returns to the plenary prompt and asks students to complete the final reflection on the production plan reflection section: “My plan is most resolved in…, but before production I still need to…”. Students submit their worksheet and leave their concept drawings and reference material together for the next lesson.

Resources

• the production planning slide deck
• the whakairo production planning worksheet
• Students’ concept drawings, research and development work
• Examples or teacher-selected images of resolved and developing whakairo works
• School-approved carving, construction and finishing equipment list
• Available materials and material samples
• Classroom safety guidance and first-aid access
• Digital cameras or devices for documenting development
• Timer and board for conference rotations

Assessment

• Formatively check each plan for a clear intention, logical sequence, realistic time estimates, appropriate resources and evidence of cultural and safety considerations.
• Listen to partner reviews and teacher conferences for students’ ability to justify process choices using relevant art-making conventions.
• Use the submitted plan reflection to identify who is ready to begin production and who needs further research, technical teaching or cultural guidance.

Differentiation

• Provide a partially completed exemplar, process-word bank and sentence starters such as “My intention is…”, “This process is appropriate because…” and “I will seek guidance about…”.
• Allow students to dictate ideas, use speech-to-text, enlarge the worksheet or complete the plan digitally; chunk the task into one section at a time for students requiring executive-function support.
• Pair students strategically for peer review and provide a quiet conference space or extra processing time where needed. Clarify specialised terms with visuals and plain language for EAL learners.
• Extend capable students by requiring alternative production pathways, a contingency plan for material or time failure, and a justification of how their selected conventions communicate meaning without appropriating culturally significant designs.