Text and Image Integration

Overview

Lesson 16 of 30 in Exploring Whakairo Traditions. Students investigate how written and symbolic elements may work with carved forms to communicate whakapapa, identity, values and narratives. They analyse examples respectfully, then develop a considered text-and-image concept for their ongoing body of work.

Learning intentions

• WALT identify how text, pattern and image can work together in whakairo.
• WALT discuss the significance of written and visual elements in cultural context.
• WALT develop a purposeful concept using appropriate visual conventions.
• WALT explain how research and feedback influence our art-making decisions.

Success criteria

• I can describe relationships between text, imagery, pattern, material and placement.
• I can explain possible meanings without making unsupported assumptions.
• I can create two or more thumbnail concepts that show development.
• I can justify my selected concept and identify an appropriate next step.

Curriculum links

• Produce a systematic body of work that shows understanding of art making conventions and ideas within painting.
• Produce a systematic body of work that shows understanding of art making conventions and ideas within design.
• Demonstrate an understanding of methods and ideas from established practice appropriate to painting.
• Demonstrate understanding of art works in relation to their physical environments.

Lesson structure (120 minutes)

1. 0–10 min · Whakatau and visual hook. Teacher welcomes students, revisits the unit’s purpose and opens the visual hook and learning intentions, showing a carefully selected image set of whakairo where text, kōwhaiwhai, figurative forms or inscriptions are presented together; students silently record what they notice, what they think it might communicate, and one question they have.

2. 10–28 min · Establishing context. Teacher uses the context and vocabulary slides to explain that meaning depends on the artwork’s cultural, historical and physical setting, and that students must distinguish observation from interpretation; students annotate the text-and-image analysis worksheet by identifying visible elements, possible purposes, audience, location and questions requiring further research. Emphasise that Māori names, narratives, symbols and language are not decorative resources to copy, and that consultation and appropriate attribution matter.

3. 28–48 min · Close analysis discussion. Teacher models a “notice, connect, question” reading of one artwork, asking: Where does the text sit? How does scale, direction, repetition or contrast affect reading? What might change if the work were moved to another environment? Students work in groups of four to analyse two further examples on the slides, then share one evidence-based observation and one cautious interpretation. Teacher challenges generalisations and records useful conventions on the board.

4. 48–62 min · Demonstration and design constraints. Teacher demonstrates how to translate research into thumbnails: selecting a clear intention, testing placement and hierarchy, considering negative space, and recording the source or cultural advice informing a decision. Reopen the thumbnail demonstration and design constraints and clarify that students should not reproduce sacred or restricted motifs, imitate named artists, or use te reo Māori text without checking spelling, meaning and permission where relevant. Students choose a personal or unit-related idea and write a one-sentence intention on the worksheet.

5. 62–95 min · Individual concept development. Teacher distributes drawing materials and conferences with students, asking them to make at least three related thumbnails that develop one idea through changes in text placement, image relationship, scale, pattern, colour or surface treatment. Students complete the concept-development and rationale section while working, documenting the intended audience, environment, materials, research influence and a question for feedback. The teacher checks that concepts show generation rather than three unrelated designs.

6. 95–110 min · Peer critique and refinement. Teacher displays the critique protocol and feedback prompts and establishes respectful feedback: describe evidence, ask before advising, and focus on intention and conventions rather than judging cultural content. In pairs, students explain their strongest concept, receive feedback using “I notice…”, “I wonder…” and “Have you considered…”, then record two useful responses. Students revise one thumbnail or add a fourth variation to show purposeful development.

7. 110–120 min · Plenary and exit reflection. Teacher returns to the opening questions and invites several students to explain how their thinking changed; students complete the final reflection on the reflection and next-step section, stating which concept they will carry forward, what research or consultation is still needed, and how the intended environment affects the design. Collect worksheets and photograph thumbnails for process evidence.

Resources

• the text-and-image analysis and demonstration slide deck
• the text-and-image analysis and concept-development worksheet
• Projector or interactive display
• Reproductions of appropriately contextualised whakairo artworks
• A3 cartridge paper or visual diaries
• HB pencils, erasers, fine liners and coloured pencils
• Whiteboard and markers
• Camera or device for documenting process

Assessment

• Listen for students distinguishing observation, interpretation and evidence during group discussion.
• Check worksheets and thumbnails for contextual understanding, purposeful development, appropriate conventions and documented research influences.
• Use the final reflection to identify whether each student has a clear next step, including any need for cultural guidance, spelling checks or further contextual research.

Differentiation

• Provide a visual word bank, sentence starters and a completed model analysis for students needing support: “I can see…”, “This may suggest… because…” and “The environment affects the work by…”.
• Allow students to communicate analysis orally before writing, use enlarged artwork reproductions, or work with a teacher-selected pair of examples.
• Support students with dyslexia or fine-motor needs through uncluttered worksheet spacing, speech-to-text, digital thumbnails or photographed sketches.
• Extend confident students by requiring a comparative explanation of how the same text-and-image relationship would function in two different environments, or by developing a regeneration that challenges their first solution while retaining the intention.
• Ensure students use publicly available, appropriately contextualised examples and do not copy or claim ownership of culturally significant designs; direct questions about tikanga, whakapapa or te reo Māori to an appropriate knowledge holder or approved source.